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1
Piazza, Lisa M. „Exploring the Artistic Identity/Identities of Art Majors Engaged in Artistic Undergraduate Research“. Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6928.
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In western societies, the persona of the artist has largely been associated with prevailing myths of the creative individual including the artist as genius and outsider. In my inquiry I endeavored to understand what it means to be an artist from the perspective of budding “creatives”. In this study I explored the process of becoming an artist that is how college students construct and navigate an artistic self (selves), and the factors that influenced this process. My purpose in this multiple text narrative inquiry was to discover how undergraduate art majors construct and navigate their artistic identity/identities, particularly while engaged in an artistic undergraduate research (UR) experience. I selected to explore students engaged in an undergraduate research project as a way to understand the process of artistic becoming within a unique educational practice, and to determine the role of creativity within this process.
My study involved students who participated in an undergraduate research scholarship program developed by the Office for Undergraduate Research at a large research university in the southeast of the United States. Ten undergraduate art majors participated in this study. Data included in-depth interviews, and participant writings in the form of “artist” reflective journal entries (which included both written and visual text), and a final self-reflection essay. I analyzed the interview data through a holistic- content approach (Lieblich et al., 1998). I identified specific themes in order to understand the complex, “whole” individual, which assisted me in understanding participant “artistic selves”, and how creativity played a role in this process. I analyzed participant art products using methods adapted from Riessman (2008) and Keats (2009). Three key findings emerged from my inquiry. First, for the majority of participants, the construction of artistic identity/identities involved a significant evolution in their meaning making structures. Second, the notion of “doing” for oneself through research was profound for most individuals, which resulted in a stronger sense of artistic identity/identities. The third major finding was how participants weaved their artistic identity/identities through creativity. Implications of my research underscore the need for more robust institutional support and resources to assist emerging artists with developing career skills, creating supportive environments for art majors from a variety of backgrounds to help them succeed and thrive in college, the design and implementation of additional educational practices in the arts that promote self-authorship, and the expansion of UR activities within the arts.
2
Dustman, Eric L. „A Childhood Perspective: The Expressed Understanding of Empathy through Artistic Forms of Meaning Making“. University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427797342.
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Castro, Pablo Y. „Os beneficios psicologicos da aula de musica : um estudo cientifico com adolescentes de 5as. e 6as. series do ensino publico brasileiro“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284722.
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Orientadores: Ricardo Goldemberg, Monica GobittaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho consistiu em uma pesquisa empírica realizada com o objetivo de detectar as conseqüências de um curso de iniciação ao violão em relação aos aspectos psicológicos de adolescentes com déficit de auto-estima. Para estabelecer a amostra, realizou-se aplicação prévia da escala EMAE em uma população de 225 alunos (5as. e 6as. séries do ensino fundamental de uma escola pública da periferia de Campinas-SP), de maneira que pudesse ser detectado o quartil inferior (n=56) da pontuação dos indivíduos, ou seja, quais eram os estudantes com menor auto-estima. Deste grupo, formaram-se, aleatoriamente, dois grupos (n=10 cada um), recebendo, um desses, uma intervenção na forma de um curso coletivo de iniciação ao violão com duração de três meses, e o outro, nenhum tratamento. Realizaram-se pré e pós-testagem dos dois grupos, com posterior comparação dos dados, sendo utilizados, para tanto, o teste projetivo HTP, entrevistas semi-estruturadas, o teste psicológico EMAE, e filmagens com análise microgenética, técnicas estas que conferiram uma abordagem qualiquantitativa à pesquisa. Os resultados indicam que os alunos do grupo que participou das aulas de música apresentaram, em relação aos sujeitos não participantes, diminuição de conflitos, melhoria das relações familiares, aumento da sociabilidade, melhoria da auto-estima implícita, diminuição da sensação de pressão por parte do meio e aumento da tendência ao devaneio e fantasia, havendo significância estatística nas diferenças encontradas (P=0,009; OR=1,889), o que confirma a hipótese de que a Educação Musical pode propiciar resultados positivos a seus educandos. Além disso, indicou-se que a participação da família do aluno no processo de ensino-aprendizagem e a valorização de habilidades específicas do educando potencializou a auto-estima implícita.
Abstract: This work had consisted in an empirical research made with the goal of to detect the consequences of an acoustic guitar initiation course in relation to the psychological aspects of low self-esteem adolescents. So that we could define the sample, it was made a previous use of the EMAE psychological test in a population of 225 5th and 6th grade students of a public school situated in the suburb of Campinas, so that was possible to detect the portion of the lower score subjects, that is, the lower self-esteem students. Of this group, it was randomly selected two groups (n=10 each of these), been the case that one of these groups received the intervention (an acoustic guitar initiation course with three months of duration), and the other, any treatment. It was made pre and post-testing of the two groups, and after, a comparison of the data, been used, for this, the projective test HTP, semistructured interviews, the psychological test EMAE, camera's recording with microgenetic analyses, techniques that gave a quali-quantitative approach to this research. The results sign that the music course participants showed, in comparison to the non-participants, conflict diminution, familiar relationships improvement, increased socialization, implicit self-esteem increase, diminution of the environment pressure's feeling and more tendency to the fantasy, having the differences statistical significance (P=0,009; OR=1,889), what confirms the hypothesis that Music Education can provide benefits to the participants. Besides, it was demonstrated that the students family participation in the learning process and the valorization of specific habilities of the adolescent had potencialized the increase of implicit self-esteem.
Mestrado
Fundamentos Teoricos
Mestre em Música
4
Weizmann, Claudio. „Educação musical: aprendendo com o trabalho social de uma orquestra de violões“. Universidade Presbiteriana Mackenzie, 2008. http://tede.mackenzie.br/jspui/handle/tede/1977.
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The present thesis seeks to examine the still little understood and under-explored potential of music education, based on the analysis of the results of a socio-cultural musical project, the Orquestra Sinfonia do Cerrado. This project was built around the principles of a critical-reflective educational practice, and structured within the dynamics of a collective teaching process pertinent to learning communities, establishing the necessary conditions and credibility for work that could attend to social and cultural necessities, with a respect for the peculiarities of the young students involved, yet without abandoning a strong focus on artistic quality. A drive for professionalism, clarity of goals, and the construction of languages and methodologies guided the artistic and educational practice, orienting the planning, development, repertoire and results of the project, which also had consequences over the social and family life of the participants. The project resulted in highly elevated values of musical quality, self-accomplishment and social and humanistic awareness of the teenaged students, as well as the political and cultural empowerment of these low-income adolescents from an NGO based on the state of Goiás, Brazil. The research here reported shows the complexity of the cultural project itself, which ties music, lessons, students, teachers and society together, as well as the complexity of the methodology employed in order to deal with the theoretical multidimensionality required in order to establish a synchronic investigation of pedagogical, historical, and cultural factors, along with the specific musical knowledge acted upon.
O presente estudo mostra as possibilidades educacionais ainda pouco compreendidas e exploradas no ensino musical, utilizando para isto os resultados do projeto sóciocultural- musical denominado Orquestra Sinfonia do Cerrado. Este projeto foi construído nos princípios da prática educacional crítico-reflexiva e estruturado nas dinâmicas do ensino coletivo na sala de aula em comunidades de aprendizagem, criando as condições e credibilidade para um trabalho que atendesse às necessidades sociais e culturais, respeitando a condição dos jovens e propondo transformações sem perder o foco na qualidade artística. O profissionalismo, a clareza de objetivos e a construção de linguagens e metodologias nortearam a prática artístico-educativa, influenciando o planejamento, o desenvolvimento, o repertório e os resultados do projeto, que também ecoam na vida familiar e social dos adolescentes. Esta prática determinou elevados valores de qualidade musical, auto-realização e conscientização social e humanística, democratização e inclusão cultural destes jovens de famílias de baixa renda que participam de uma Associação Cultural no interior de Goiás. Esta pesquisa mostra a complexidade tanto das ações do projeto cultural, que envolvem a música, a aula, o aluno, o professor e a sociedade, como da metodologia utilizada que consegue abordar a multidirecionalidade teórica necessária para a investigação sincrônica dos fatores pedagógicos, histórico-culturais e dos saberes específicos musicais.
5
Falk, Ingrid. „Estetiken angår alla! : Portfolio som verktyg för självvärdering och modell för att motverka social snedrekrytering“. Thesis, Stockholms universitet, Institutionen för utbildningsvetenskap med inriktning mot tekniska, estetiska och praktiska kunskapstraditioner, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126509.
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De konstnärliga högre utbildningarna med bild- och forminriktning har till övervägande del en studentsammansättning med kulturellt kapital1 hemifrån. För att hårdra betyder det att elever med litet ekonomisk, socialt eller kulturellt kapital inte söker estetiskt gymnasieprogram eller blir studenter på förberedande konstnärlig utbildning.Här ges en bild av hur villkoren ser ut på fältet och hur rekrytering till högre konstnärlig utbildning går till. Utbildningsanordnarna som intervjuas i undersökningen konstaterar den rådande sociala snedrekryteringen i Stockholm.En utbyggd användning av portfolio inom gymnasieskolan skulle kunna fungera som modell för att bryta den sociala snedrekryteringen. Portfoliomodellen ger elever och studenter utrymme att träna sig i självvärdering genom samlande och reflektion av egna alster. Att kunna värdera sig själv ger perspektiv och utvecklingsmöjligheter i förståelsen av sig själv som en del av ett större sammanhang, en helhet, en kultur. Genom de kriterier som innefattas av konstruktionen av portfolion, ges utmaning i att se nya möjligheter i sina framtida yrkes- och utbildningsval.The education at an advanced level of Fine Arts is dominated by students with a cultural capital from their heritage2 In strong words this will mean that students with small economic, social or cultural capital won´t apply for aesthetic high schools or even become students in art schools.This degree thesis gives a picture of how the conditions look like in reality and how the recruitment to higher artistic education is conducted. The education organisers that were interviewed in the survey established that there is a prevailing social imbalance in Stockholm.A larger use of the portfolio in high-schools could stand as a model in order to break the prevailing social imbalance. The portfolio model gives each person the space, through collecting and reflection of their own material, to find and train in self evaluation. To be able to evaluate your own person it will give perspectives on his or hers development opportunities in the understanding of itself as a part of a bigger contexts, a whole, a culture. Through the criteria that are included of the structure of the portfolio, is given a challenge in seeing new possibilities in his or her future trade's - and educational choices.
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Reisman, David. „The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /“. Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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McElfresh, Rebecca Ann. „Imaginations of Democracy: The Lived Experiences of Artists Engaged in Social Change“. Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216566818.
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Petriešytė, Vilma. „Nuteistųjų meninės socialinės edukacijos kaip resocializacijos ypatumai ir galimybės“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090630_093806-21707.
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Darbo tema - nuteistųjų meninės socialinės edukacijos kaip resocializacijos ypatumai. Tema aktuali, nes sėkmingas nuteistojo integravimasis į visuomenę didele dalimi priklauso nuo resocializacijos proceso, kuris vyksta per adaptacijos, pataisos ir integracijos etapus. Vienas alternatyvių nuteistų asmenų resocializacijos būdų – meninė socialinė edukacija. Šalies įkalinimo įstaigose užsiimama menine veikla, tačiau nepakankamai. Nesudaromos ar nepakankamai sudaromos sąlygos kalinių resocializacijai, trūksta specialistų, silpna materialinė bazė, mažas suinteresuotumas.
Darbo tikslas - ištirti Lietuvos įkalinimo įstaigų meninės socialinės edukacijos kaip resocializacijos ypatumus. Darbe analizuojama nuteistųjų resocializacijos samprata, įkalinimo įstaigose vykstančios meninės socialinės edukacijos realijos. Temos aktualumui ir naujumui pagrįsti atlikti kiekybinio ir kokybinio tipo tyrimai. Apklausus 290 nuteistųjų, kalinčių Lukiškių kalėjime, Vilniaus 2–uosiuose pataisos namuose ir Panevėžio moterų kalėjime paaiškėjo, kad nors meninės veiklos užsiėmimai įkalinimo įstaigose vyksta, juos lanko ne visi. Apklausus 33 Vilniaus ir Panevėžio įkalinimo įstaigų vadovaujančio personalo darbuotojus bei meninės veiklos specialistus, dirbančius su nuteistaisiais, nustatyta, kad įstaigose vyksta meninės veiklos užsiėmimai (iš jų dažniausiai - dailės ir muzikos), tačiau ne visiems nuteistiesiems pasiūloma juose dalyvauti, be to, ne visi nuteistieji priima šį pasiūlymą ir noriai lanko užsiėmimus... [toliau žr. visą tekstą]Topic of the work: the peculiarities of artistic social education as resocialization for prisoners. The topic is relevant because a successful integration of a prisoner into society depends a lot on resocialization process that takes place through adaptation, correction and integration stages. One of alternative resocialization means of convicts is artistic social education. In imprisonment institutions of the country people are engaged in artistic activities, but not sufficiently. There are no conditions or conditions are not satisfactory for resocialization of prisoners, there is a lack of specialists, weak material base and little interest. Aim of the work: to research the peculiarities of artistic social education as resocialization of imprisonment institutions. In the work one analyzes the conception of resocialization of prisoners, and realia of artistic social education that take place in imprisonment institution. To prove the relevance and novelty of the topic one performed qualitative and quantitative researches. 290 prisoners were questioned that are in Lukiskiu prison, in Vilnius 2nd correction institution and Panevezys women prison. It was found out that although artistic activities take place in imprisonment institutions, not all people attend them. When 33 leading personnel employees of Vilnius and Panevezys imprisonment institutions and specialists of artistic activities that work with prisoners were questioned, it was found out that artistic activities took... [to full text]
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Rosenbohm, Dominique. „Art & Peace, Peace Education and Performing Artist’s Reflections“. Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23323.
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This thesis is confronting literature on art and peace and on peace education with reflections of young performing artists. The artists have been interviewed on their experiences in theatre, music and dancing. From comparing the interview outcomes with the literature this thesis is trying to add an artist’s perspective to existing knowledge of cooperation of art and peace. The research concludes that within the examined performing artists’ reflections, there are similarities and differences to the literature detectable, which might indicate possibilities and concerns for the cooperation of art and peace and the use of performing arts in peace education. It also indicates that there is a lot more room for further research.
10
Erenrich, Susan J. „Rhythms of Rebellion: Artists Creating Dangerously for Social Change“. Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.
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Pitombo, Paulo Fernando Dias de Toledo. „Pratica artistica para todos : as artes plasticas no cenario da inclusão social na cidade de São Paulo“. [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285023.
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Orientador: Lucia Helena ReilyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O processo de formação em arte, somado à docência voltada a públicos especiais, foi constituindo o vislumbre de que a vivência do pesquisador como pessoa com deficiência poderia contribuir no devir de uma perspectiva diferenciada para o ensino de Arte. A lacuna existente de estudos e fóruns sobre as abordagens metodológicas no campo específico de Arte e Deficiência motivou a concretização desta pesquisa. A própria tem por objetivo o estudo de uma mostra qualitativa da cultura contemporânea da cidade de São Paulo acerca de propostas que enfoquem o acesso às Artes Plásticas para pessoas com deficiência, analisando-as na perspectiva do paradigma da inclusão social. Por meio de observações e fotos das três instituições estudadas, bem como das três atividades representativas de um cenário de ações inclusivas, junto com os dados analisados das nove entrevistas com os profissionais que as realizam, foi possível apresentar um retrato atual do diálogo travado entre os agentes desse processo e os conceitos formação de educadores, mudança de paradigma e especificidades do ensino de arte para grupos especiais/mediação. Os fundamentos que deram embasamento teórico à discussão desses dados foram tirados da fenomenologia, da abordagem sócio-cultural-histórica, do campo específico da arte, da educação especial e do paradigma da inclusão. Nesta pesquisa constatou-se a existência de significativas práticas artísticas específicas a este público. Contudo, não atingem a população da cidade em geral
Abstract: The Arts education process along with the teaching of people with special needs composes the scene for Art education in which this researcher¿s contribution, who is himself visually impaired, is highlighted. The significant gap in the studies and foruns presenting methodological approaches in the specific area of Arts and disability motivated this research undertaking. The aims of the project were to study a qualitative sample of contemporary culture from the city of São Paulo about the proposals which focus on access to Visual Arts for people with disability, analyzing them from a social inclusion paradigm. Three institutions were studied, using interviews with three rofessionals from each institution and observations of representative activities of the set of inclusive art sessions, which were photographed. The study enabled us to present an updated portrait of the dialogue between the agents of this process, classified according to the following concepts: teacher education, paradigm change and specificities of art teaching for people with disabilities (mediation). The theoretical foundation which supported the discussion of the data was based on phenomenology, the social-cultural-historical approach, specific Arts concepts, Special Education and the inclusion paradigm. The results pointed to the existence of significant artistic practices aimed toward this public, however they are restricted to a limited group of people with disability who are able to access the programs
Mestrado
Mestre em Artes
12
Gasper, Kahlil Almustafa. „Writing Ourselves Into Existence: A Spoken Word Artist’s Autoethnography of a Liberatory Hip-Hop Pedagogy“. Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/529.
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While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.
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Precious, Mandy. „Social class and cultural reproduction : a study of the exceptional lives of artists working in schools“. Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57926/.
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The motivation for this research was to better understand how social class impacts on the reproduction of cultural taste on the basis that access to 'legitimate' culture is predetermined by class position. This was driven by my history as a woman with a working class cultural heritage operating as an artist in a school setting, a predominantly middle class position. The research asks, therefore, the question: what enables transgression from one class/culture to another? [...]
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Baptista, Mariquinhas das Dores. „Expectativas e representações sobre as profissões de artista plástico e de professor de educação artística: o caso dos formandos das escolas nacionais de artes plásticas, de dança, música e teatro em Luanda“. Master's thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/16494.
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Toda a formação deve ser orientada no sentido de desenvolver competências
pessoais e profissionais que permitam ao formando reflectir sobre as opções a tomar.
Na realidade angolana, a escolha da profissão tem provocado nos formandos um
sentimento de ambiguidade, por se tratar de uma possibilidade de entrar no mercado
formal de trabalho ou de se tornarem mais um grupo de formandos a desenvolver
atividades nas quais nem sempre colocam em prática os conhecimentos apreendidos.
Como o evidencia a literatura, nas últimas décadas as profissões de artista plástico e de
professor de educação artística parece terem sido submetidas a um processo contínuo de
desvalorização, não só devido aos baixos salários que esta classe de profissionais aufere, mas
sobretudo devido à desprofissionalizacão e à precarização de seu trabalho.
A dissertação que se apresenta resulta de um estudo efetuado nas quatro
escolas de formação artística de Luanda, tendo como questão central as
expectativas e as representações sociais dos formandos sobre as profissões de
artista plástico e de professor de educação artística.
Os dados do estudo foram obtidos através da realização de entrevistas semiestruturadas
ao último grupo de formandos antes do encerramento das referidas escolas.
A análise dos dados, realizada através da constituição de categorias e subcategorias,
revelou que os formandos atribuíam a falta de condições ao longo da formação como a causa
principal da mudança das suas expectativas e das suas representações sobre o exercício das
profissões de artista plástico e de professor de educação artística; ABSTRACT:
Expectations and representations about the professions plastic artist and
professor of art education: the case of trainees of National Schools of
Visual Arts, Music, Dance and Theater in Luanda
All training/education for must be guided to develop personal and professional
skills to enable the learner to reflect on the choices for a professional careers made.
In the Angolan reality, choosing a profession can many time give rise to
feeling of ambiguity to the graduates, as they have to get into the employment
market, or to be part of a group of graduates that end not exercising they acquired
knowledge from their respective university degrees.
According to Borges and Delicado (2010) and Perrenoud (2002) in recent
decades the pursuit of professions artist and professor of art education seems to
have undergone a continuous process of devaluation, not only because of low
wages that this class of professionals earns, but mainly due to nonprofessionalization
and precariousness of their work.
The dissertation we present is a results of a case study carried out in four schools of
artistic training in Luanda, with the central question the expectations and social
representations of the trainees of professions artist and professor of art education.
The results of the study were obtained through a questionnaire by
interviewing the last group of trainees before closure of those schools.
The analysis and processing of the results, carried out through the creation of
categories and subcategories revealed that students attributed the lack of conditions
over training as the main cause of the change in their expectations and their
representations on exercise professions of artist and professor of art education.
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Macaire, Élise. „L’architecture à l'épreuve de nouvelles pratiques : recompositions professionnelles et démocratisation culturelle“. Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST1179.
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Depuis le début des années 90, des collectifs d'architectes mettent en avant des démarches alternatives au processus traditionnel d'élaboration du projet architectural ou urbain. Ils privilégient des interventions sur les petites échelles permettant une implication plus importante des habitants sur le projet dans le cadre d'actions engageant peu de moyens. A la fois proches des artistes « activistes » ou de pratiques d'éducation populaire, ces architectes proposent des méthodes alliant pédagogie de la création et participation démocratique. Le militantisme et la coproduction avec le public semblent ainsi dessiner les contours de modèles d'action qui, bien que marginaux, participent au changement des valeurs traditionnelles du champ de l'architecture. Une nouvelle socialisation de l'activité des architectes semble alors être à l'oeuvre à travers ces formes d'engagements professionnels. La thèse est organisée en trois parties. La première présente un état des lieux de la socialisation de l'architecture à travers deux entrées principales : l'histoire sociale de la profession et le mouvement de la démocratisation de l'architecture. La deuxième chapitre vise à expliciter les formes de professionnalités développées par des collectifs à partir d'une description de fonctionnements associatifs et de divers champs d'action (interventions sociales et artistiques ou actions pédagogiques et participatives). Enfin, la troisième partie explore les modalités selon lesquelles des architectes et des artistes façonnent de nouvelles compétences construites à partir de déplacements relatifs à leurs champs de référenceSince the early 1990s, architects' collectives have placed emphasis on alternative approaches to the traditional process used to develop architectural or urban projects. These collectives privilege small scale interventions that permit a greater involvement of local residents in the project through actions requiring few means. Simultaneously close to “activist” artists and community education practices, these architects propose methods that ally the teaching of creativity and democratic participation. As a result, the activism and joint production with the public seems to outline the contours of action models that, although marginal, are contributing to changing traditional values within the field of architecture. A new socialisation of the activity carried out by architects seems to be taking shape through these forms of professional commitment. The thesis is organised into three parts. The first presents an assessment of the socialisation of architecture through two particular aspects: the social history of the profession and the movement towards the democratisation of architecture. The second chapter aims to clarify the forms of professionalism developed by the collectives through a description of the associative operational methods and the various fields of action (social and artistic interventions or educative and participative actions). Finally, the third part explores the methods through which architects and artists develop new skills by expanding their specific fields of reference
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FRASCHINI, ERICA. „TEORIE E INDIRIZZI APPLICATIVI DEI MUSEI STATUNITENSI NELL'EDUCAZIONE DEGLI ADULTI: UNA LETTURA CRITICA E UNA PROPOSTA“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/281.
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La presente ricerca è volta a collegare l'ambito artistico all'educazione degli adulti. Primo obbiettivo della ricerca è stato riconoscere le peculiarità dell'apprendimento adulto per potere individuare quali tra esse fossero da considerare irrinunciabili in una pedagogia per il patrimonio artistico.
Il primo capitolo è dedicato a ripercorrere la letteratura critica relativa al tema dell'apprendimento degli adulti nei musei per mettere in luce: 1) le caratteristiche dell'apprendimento adulto che devono essere considerate nel progettare attività rivolte a questo tipo di pubblico. 2) le teorie pedagogiche maggiormente diffuse in ambito museale americano e che influenzano le esperienze europee.
Il secondo capitolo nasce come continuazione del primo e tenta di offrire un'alternativa al modello costruttivista di museo, portando all'attenzione il concetto di persona derivante dalla posizione filosofica realista.
Il terzo capitolo si divide in due parti: la prima rende conto della fase di osservazione condotta presso il Solomon Guggenheim Museum, il Metropolitani Museum of Art e il Museum of Modern Art di New York. Presso tali istituzioni museali ho individuato un'attività che per la metodologia adottata ha costituito il modello di riferimento per la fase applicativa della ricerca condotta presso il Museo dell'Ottocento di Milano e descritta nella seconda parte del capitolo. I risultati della sperimentazione hanno confermato la validità di tale metodologia e hanno aperto il campo a nuove riflessioni.The aim of this research is to make a connection between art and lifelong learning. The first goal of the study was to underline the specific features of adult's learning to identify which should be considered as crucial in the artistic heritage pedagogy. The second goal was to study an approach to the artwork that fitted the requirements of adult's learning. The first chapter is dedicated to consider: 1. the essential characteristics of adult's learning to be considered in the process of planning activities and 2. the most widespread pedagogic theories in American museums, and how they influence European works. The second chapter tries to describe an alternative to the constructivistic model of the museum, focusing on the concept of person that arise from the realistic philosophy. The third chapter is formed by two parts: in the first it is described a period of participant observation at the Guggenheim Museum, the Metropolitan Museum of Art and the Museum of Modern Art of New York. During that period, I identified an activity that formed the methodological basis for the practical activity I realized at the Museo dell'Ottocento of Milan. This activity is described in the second part of the chapter. The results of the groundwork confirmed the high quality of the methodology and encourage further studies.
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FRASCHINI, ERICA. „TEORIE E INDIRIZZI APPLICATIVI DEI MUSEI STATUNITENSI NELL'EDUCAZIONE DEGLI ADULTI: UNA LETTURA CRITICA E UNA PROPOSTA“. Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/281.
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La presente ricerca è volta a collegare l'ambito artistico all'educazione degli adulti. Primo obbiettivo della ricerca è stato riconoscere le peculiarità dell'apprendimento adulto per potere individuare quali tra esse fossero da considerare irrinunciabili in una pedagogia per il patrimonio artistico.
Il primo capitolo è dedicato a ripercorrere la letteratura critica relativa al tema dell'apprendimento degli adulti nei musei per mettere in luce: 1) le caratteristiche dell'apprendimento adulto che devono essere considerate nel progettare attività rivolte a questo tipo di pubblico. 2) le teorie pedagogiche maggiormente diffuse in ambito museale americano e che influenzano le esperienze europee.
Il secondo capitolo nasce come continuazione del primo e tenta di offrire un'alternativa al modello costruttivista di museo, portando all'attenzione il concetto di persona derivante dalla posizione filosofica realista.
Il terzo capitolo si divide in due parti: la prima rende conto della fase di osservazione condotta presso il Solomon Guggenheim Museum, il Metropolitani Museum of Art e il Museum of Modern Art di New York. Presso tali istituzioni museali ho individuato un'attività che per la metodologia adottata ha costituito il modello di riferimento per la fase applicativa della ricerca condotta presso il Museo dell'Ottocento di Milano e descritta nella seconda parte del capitolo. I risultati della sperimentazione hanno confermato la validità di tale metodologia e hanno aperto il campo a nuove riflessioni.The aim of this research is to make a connection between art and lifelong learning. The first goal of the study was to underline the specific features of adult's learning to identify which should be considered as crucial in the artistic heritage pedagogy. The second goal was to study an approach to the artwork that fitted the requirements of adult's learning. The first chapter is dedicated to consider: 1. the essential characteristics of adult's learning to be considered in the process of planning activities and 2. the most widespread pedagogic theories in American museums, and how they influence European works. The second chapter tries to describe an alternative to the constructivistic model of the museum, focusing on the concept of person that arise from the realistic philosophy. The third chapter is formed by two parts: in the first it is described a period of participant observation at the Guggenheim Museum, the Metropolitan Museum of Art and the Museum of Modern Art of New York. During that period, I identified an activity that formed the methodological basis for the practical activity I realized at the Museo dell'Ottocento of Milan. This activity is described in the second part of the chapter. The results of the groundwork confirmed the high quality of the methodology and encourage further studies.
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Pancera, Osmar. „A práxis artístico-cultural da ONG Rádio Margarida: uma história de linguagens artísticas e meios de comunicação social, a serviço da educação popular“. Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/17973.
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Previous issue date: 2009-05-25The action research, "the artistic-cultural practice of the Rádio Margarida Non- Governmental Organization (NGO): a history of artistic languages and social communications media, serving popular education", describes and analyzes the history of union and experiences artistic-cultural production and educational from a group of people (artists, educators, intellectuals, workers...), which shares a conception of world, organized in the form of civil society for public services, legally constituted, non-profit, named Centro Artístico Cultural Belém Amazônia (Artistic Cultural Center Belém Amazonia) Rádio Margarida NGO. The artistic-cultural practice of the NGO, which is developed since 1991 up to today, is the basis for the defense of this dissertation: The art as socialization of culture for social transformation, which is affirmed by demonstrating the usage of popular education method utilizing artistic languages (theater, theater of dolls, clown, games, music, etc) and social communications media (radio and popular video broadcasting). The categories of methods: communication + sense + transforming actions, are decoded into movements of creation and representation of theater plays, music, broadcasting radio programs, video scripts, oriented guides to use educational materials and pedagogic processes of making-learning-sharing
A pesquisa-ação, A práxis artístico-cultural da ONG Rádio Margarida: uma história de linguagens artísticas e meios de comunicação social, a serviço da educação popular , descreve e analisa a história da união e vivência produção artístico-cultural e educacional de um grupo de pessoas (artistas, educadores, intelectuais, trabalhadores...) que compartilham uma concepção de mundo, organizadas na forma de sociedade civil de utilidade pública, juridicamente constituída, sem fins lucrativos, denominada de Centro Artístico Cultural Belém Amazônia, ONG Rádio Margarida. A práxis artístico-cultural da ONG, que é desenvolvida desde o ano de 1991 até hoje, é a base para a defesa da tese: A arte como socialização da cultura para transformação social, que é afirmada pela demonstração da utilização do método de educação popular que utiliza as linguagens artísticas (teatro, teatro de bonecos, palhaço, brincadeiras, música) e meios de comunicação social (radiodifusão e vídeo popular). As categorias do método: comunicação + sentimento + ação transformadora, são decodificadas em seu movimento de criação e representação de textos teatrais, músicas, programas de rádio, roteiros de vídeo, guias de orientação de utilização de materiais educativos e processos pedagógicos de fazer-apreendendo-compartilhando
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Mora, Aragón Kleiberth Lenin. „La orquesta participativa : estrategia de resiliencia y (re)inserción social en el contexto penitenciaro“. Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILH032.
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Cette recherche-action analyse les effets de la pratique musicale collective dans les prisons, en particulier dans les centres de détention de Bapaume (France) et d'Albolote (Espagne). Elle utilise l'art comme méthodologie pour transformer cet environnement hostile, caractérisé par la violence, la méfiance et la peur, grâce à la pratique orchestrale et à la création musicale. Se créent ainsi des espaces sociaux où la convivialité imposée devient acceptée et recherchée car fondée sur la réciprocité des échanges et la résonance (musicale et sociale), en favorisant des conditions favorables de surmonter les épreuves de l‘enfermement. Quel est l'impact de la pratique et de la création musicale collective dans ce contexte ? Que fait la prison à l'art et à la recherche ? La thèse tente de répondre à ces questions en montrant la nécessité de trouver d'autres méthodologies et dispositifs (l'orchestre participatif) pour rendre compte du milieu carcéral et de ses enjeux. Cette recherche-action (entretiens semi-structurés, approches quantitatives et qualitatives) est combinée ici avec la recherche-création pour répondre aux besoins de l'enquête qui porte sur 9 interventions (de mai 2016 à décembre 2022) trois à Albolote avec la participation de 8 femmes et 16 hommes et six à Bapaume avec 40 femmes et 90 hommes, soit une participation globale de 138 participants et un groupe générationnel mixte de 18 à 65 ans. Son objectif était d'analyser l'influence de l'orchestre participatif en tant que stratégie visant à (re)créer des espaces dans l'exercice de la coexistence, qui favorisent la résilience et la (ré)insertion des détenus de Bapaume et d'Albolote. La recherche permet de conclure que la pratique musicale collective et la création constituent des outils puissants d'éducation sociale, ouvrant des possibles non seulement aux personnes détenues mais à la communauté carcérale tout entière et au-delà, à la société, susceptibles de poser un nouveau regard sur cette population grâce aux concerts et créations organisés dans la prisonThis action research analyzes the effects of collective musical practice in prisons, particularly in the detention centers of Bapaume (France) and Albolote (Spain). It uses art as a methodology to transform this hostile environment, characterized by violence, distrust, and fear, through orchestral practice and musical creation. This creates social spaces where imposed conviviality becomes accepted and sought after, as it is based on the reciprocity of exchanges and resonance (both musical and social), fostering favorable conditions for overcoming the trials of confinement. What is the impact of collective musical practice and creation in this context? What does prison do to art and research? The thesis attempts to answer these questions by showing the necessity of finding other methodologies and devices (the participatory orchestra) to account for the prison environment and its challenges. This action research (semi-structured interviews, quantitative and qualitative approaches) is combined here with research-creation to meet the needs of the investigation, which covers 9 interventions (from May 2016 to December 2022): three in Albolote with the participation of 8 women and 16 men, and six in Bapaume with 40 women and 90 men, totaling 138 participants and a mixed generational group aged 18 to 65. Its objective was to analyze the influence of the participatory orchestra as a strategy to (re)create spaces in the exercise of coexistence, promoting resilience and the (re)integration of detainees from Bapaume and Albolote. The research concludes that collective musical practice and creation constitute powerful tools of social education, opening possibilities not only for detainees but for the entire prison community and beyond, to society, likely to cast a new light on this population through concerts and creations organized within the prison
Esta investigación-acción analiza los resultados de la práctica musical colectiva en las prisiones, particularmente en los centros de detención de Bapaume (Francia) y de Albolote (España). Utiliza el arte como metodología para transformar este ambiente hostil, caracterizado por la violencia, la desconfianza y el miedo, gracias a la práctica orquestal y la creación musical. Así se forman espacios sociales donde la convivialidad impuesta, termina siendo aceptada y valorada, puesto que se sustenta en la reciprocidad de los intercambios y en una resonancia (musical y social), al motivar condiciones favorables para superar las dificultades del encierro. ¿Cuál es el impacto de la práctica y creación musical colectiva en este contexto? ¿Qué hace la prisión al arte y a la investigación? La tesis intenta responder a estas preguntas mostrando la necesidad de encontrar otras metodologías y dispositivos (la orquesta participativa) para dar cuenta del entorno carcelario y sus desafíos. Esta investigación-acción (entrevistas semi-estructuradas, enfoques cuantitativos y cualitativos) se combina aquí con la investigación-creación para satisfacer las necesidades de la investigación que se basa en 9 intervenciones (de mayo de 2016 a diciembre de 2022) tres en Albolote con la participación de 8 mujeres y 16 hombres y seis en Bapaume conformada por 40 mujeres y 90 hombres, con una participación global de 138 participantes y un grupo generacional mixto de 18 a 65 años. Su objetivo fue analizar la influencia de la Orquesta Participativa como estrategia destinada a (re)crear espacios en el ejercicio de la convivencia,que favorezcan la resiliencia y la (re)inserción de los internos de Bapaume y Albolote. La investigación permite concluir que la práctica musical colectiva y la creación son estrategias poderosas de educación social, abriendo posibilidades no sólo a las personas detenidas sino a toda la comunidad carcelaria y más allá, a la sociedad civil, que puede ver a esta población de manera nueva a través de los conciertos y creaciones organizados dentro de la prisión
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Rådelius, Elias. „“Shout to the people the reality, and they dance it!” : A case study on the synergies and challenges between music, youth empowerment, sustainable development and social change in the Gambia“. Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-36820.
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This case study examines the role of music and music-making for the youth in Brikama, the Gambia in terms of freedom of expression, sustainable development and social change. The study is situated within a project where young musicians with different backgrounds wrote and recorded their own songs during workshops with established musicians. The data was collected via interviews with the participants and instructors, observations and song analysis. The study uses Small’s (1998) theory of musicking to analyze the meaning of the musical events in the social context. Furthermore, it uses theories on the relationship between music and sustainability to analyze the role of music for the youth on an individual-, group- and societal level, but also on an organizational level. The study finds that on all four levels music and music-making holds many of the characteristics required for sustainable development and that it can foster resilience through creativity. However, it also shows that this requires the creation of inclusive spaces with an awareness of the cultural narrative and forces (such as limiting traditional values and gender issues) that might limit the capabilities of individuals, and the society, to reap these benefits. The study also shows how music, with its artistic characteristics, can offer pockets of freedom of expression to a certain but limited extent. Finally, the study shows how music can and should be incorporated more extensively by organizations working for sustainable development and social change, both as a tool to achieve other sustainability agendas, but also for the inherent characteristics of resilience and creativity that is found in music-making itself.Denna fallstudie undersöker musik och musikskapandets roll för ungdomar i Brikama, Gambia, och dess relation till yttrandefrihet, hållbar utveckling och social förändring. Studien är genomförd inom ramen för ett projekt där unga musiker med olika bakgrund komponerade och spelade in sina egna låtar under workshops tillsammans med etablerade musiker. Materialet samlades in genom intervjuer med deltagarna och instruktörer, observationer och textanalys av låtarna. Studien använder sig av Smalls (1998) koncept musicking för att analysera den musikaliska situationens mening i sin sociala kontext. Dessutom används teorier om relationen mellan musik och hållbarhet för att analysera musikens roll för ungdomarna på en individuell-, grupp- och samhällsnivå, men även på en organisationsnivå. Studien visar på alla fyra nivåer att musik och musikskapande innehar många av de karaktärsdrag som krävs för hållbar utveckling och att det kan främja resiliens genom kreativitet. Dock visar studien att inkluderande sammanhang behöver skapas med medvetenhet om den kulturella kontexten. Detta för att kunna navigera de krafter (såsom negativa traditionella värderingar kring genus) som kan begränsa individers deltagande och i slutändan samhällets möjlighet att ta del av fördelarna. Studien visar också hur musik, med sina konstärliga karaktärsdrag, kan erbjuda ett visst utrymme för yttrandefrihet. Slutligen visar studien hur musik kan och bör inkorporeras till större grad av organisationer som arbetar för hållbar utveckling och social förändring, både som ett verktyg för att uppnå hållbarhetsagendor, men även för de inneboende karaktärsdragen resiliens och kreativitet som finns att hitta i själva musikskapandet.
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Porquer, Rigo Joan Miquel. „Hacerse desde la periferia. Cartografía metodológica de un artista/investigador/docente en una institución de educación superior“. Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/587141.
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La persona lectora de esta tesis doctoral no debe enfrentarla como a una empresa ortodoxa: se trata de una pieza que exige una lectura concienzuda y una predisposición consciente para penetrar en su discurso y en la estructura que lo sustenta. Su lectura no es fácil porque lo que se propone tampoco lo es. Sus premisas de partida son las siguientes:
1. Relatar el proceso de formación de un docente/investigador/artista en el seno de una institución de educación superior en arte en la segunda década de los 2000… en un proceso que se convierte en método, resultado y conclusión.
2. Reflexionar sobre su papel y competencias en la misma… y autodefinirse como artista/docente/investigador
3. Evidenciar –por contagio– debilidades, fricciones y carencias que se generan en los intersticios entre las estructuras académicas, el sector de la creación artística y la realidad social actual… y establecer un método de desarrollo crítico entre ellos.
4. Apostar por fisuras de resistencia y superación en forma de aportaciones y ejecuciones de proyectos/iniciativas/acciones… y hacerlo tomando una posición ideológica.
Con el fin de acercarse a la posibilidad de plasmar estas premisas, el autor decide recurrir a una serie de estrategias metodológicas y explora una variedad de conceptos clave, y concreta el resultado en un compendio de treinta capítulos (más un epílogo) y cinco piezas de texto intercaladas, publicadas estas últimas tanto en revistas académicas (Journals) como en actas de congresos de educación (como resultado de comunicaciones en los mismos). Los materiales presentados fijan un periodo temporal que comprende desde finales del año 2014 hasta principios de 2018, aunque se podrán encontrar referencias a periodos anteriores que corresponderán a estudios preliminares.
Este material de tipo narrativo-ensayístico, tal como se estila en el índice, está precedido por el bloque «¿Cómo se lee una cartografía metodológica?», que incluye una introducción, los objetivos de la investigación, un importante apartado de metodología y, en un orden perfectamente considerado, también las conclusiones. Al final del libro podrán hallarse las un Índice hipervincular (p. 645), un Índice iconográfico (p. 657), un listado de Referencias bibliográficas (p. 667) y una Bibliografía complementaria significativa (p. 691).
Cabe decir que si esta tesis está titulada y escrita en castellano y entremezcla con frecuencia otras lenguas es quizás porque, en ocasiones, para tomar distancia y poder redactar uno debe expresarse en otros lenguajes.
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Chin, Christina Suzanne. „Social support for adolescents' artistic activities /“. Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Jacoby, Jill Beth. „Art, Water, and Circles: In What Ways Do Study Circles Empower Artists to Become Community Leaders around Water Issues“. [Yellow Springs, Ohio] : Antioch University, 2009. http://etd.ohiolink.edu/view.cgi?acc_num=antioch1260285346.
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Thesis (Ph.D.)--Antioch University, 2009.Title from PDF t.p. (viewed March 25, 2010). Advisor: Jon Wergin, Ph.D. "A dissertation submitted to the Ph.D. in Leadership and Change program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009."--from the title page. Includes bibliographical references (p. 238-245).
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Alexander, Amanda S. „Collaboratively Developing a Web site with Artists in Cajamarca, Peru: A Participatory Action Research Study“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1276529007.
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jones, vanessa michelle. „Art as Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research“. Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1369737270.
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Ferreira, Isabel Maria Cardoso. „School films & education: cultural and artistic investigations“. Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/10299.
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Mestrado em Línguas, Literaturas e CulturasEsta dissertação visa questionar as representações da escola através da cultura fílmica anglófona produzida entre 1960 e 2006. Os filmes selecionados são o ponto de partida para uma reflexão sobre educação, pedagogia e cultura através das lentes críticas de alguns cineastas britânicos e americanos. Deste modo, os filmes apresentados foram desconstruídos e analisados através de um hipotético diálogo entre a ficção e a realidade e o meta-diálogo ficção-ficção, tendo como estratégia o contraste e a comparação dos textos fílmicos de épocas díspares, contudo transtemporais e transculturais. Sem deixarmos de valorizar o contexto histórico-cultural de cada texto fílmico em particular, tentámos extrair deste as lições mais universais quanto ao fenómeno educativo, estabelecendo através do cinema uma ligação pedagógica e cultural entre as lições do passado, do presente e as possíveis num futuro. Desta feita, este trabalho pretende valorizar o contributo dos filmes sobre a escola para o debate educativo e pedagógico, enquanto documentos culturais que registam idiossincrasias e estereótipos.
This dissertation questions the Anglophone film school representations portrayed in cinema since 1960 until 2006. The set of films chosen aim to open the debate around education, pedagogy and culture via the fictional realities captured by the lenses of a few British and American filmmakers. The films studied were deconstructed and analyzed through an hypothetical dialogue between fiction and reality and the meta-dialogue fiction-fiction, relying on the strategy of contrast and comparison of different transtemporal and transcultural epochs. Despite not overlooking the particular historical and cultural hic et nunc of the filmic products, I’ve tried to extract the most universal lessons as far as the educational phenomenon is concerned, using cinema to establish bridges among the lessons of the past, the lessons of the present and the lessons of the future-to-be. Hence, this dissertation wishes to value the role of the school film subgenre within the educational and pedagogic debate, considering it valuable cultural documentation about school idiosyncrasies and stereotypes.
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Holton, Christin. „Art journal som verktyg i bildämnet : "Du behöver inte bli förstådd... det räcker att du säger det du vill få sagt..."“. Thesis, Konstfack, IBIS - Institutionen för bild- och slöjdpedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7966.
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I det här arbetet har jag undersökt hur konceptet art journal och art journaling på ett metodiskt och strukturerat sätt skulle kunna användas som redskap och verktyg i bildundervisning för att främja uppstarten av en konstnärlig och kreativ process. Studien har också haft som syfte att undersöka hur en kreativ lärandeprocess kan se ut. Det empiriska materialet består i enskilda semistrukturerade intervjuer med fem deltagare efter att de genomfört olika uppgifter. Detta material har analyserats utifrån tematisk metod. I studien framkom att när de arbetade i sin art journal och det fanns utrymme att testa nya tekniker och material så upplevde deltagarna det som positivt i processen. Att deras arbete i boken inte bedömdes upplevde de som befriande för deras process. Det gjorde att de vågade prova mer och inte bromsade sig på grund av bedömningen. Erfarenheten kunde de sedan ta med sig till kommande bilduppgifter som skulle bedömas. Det framkom också att tiden är en av de avgörande faktorerna för ett konstnärligt processarbete. I den gestaltande delen har jag arbetat med en egen art journal. Denna art journal presenterades på Konstfacks vårutställning i maj 2021.
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Strayer, Jordan L. „Artistic Development in the K-12 Classroom“. University of Toledo / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1544814998449893.
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Christine, Deborah. „The teaching of children's artistic expression“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276714.
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The development of Discipline-based Art Education (DBAE) has focused attention on curricular structure, especially as it relates to the concept of students' creative expression. Creative self-expression, the focus of many school art programs, is to encourage students' art production. Discipline-based art education in contrast strives to develop students' artistic expression. Achievement of artistic expression requires conceptually focused instruction of art content from four art disciplines, art history, art criticism, studio production, and aesthetics. A discipline-based lesson can be examined for the way artistic expression is fostered as a part of production. Specific examples drawn from one lesson are used to illustrate that artistic expression can be recognizable, sensitive to instruction, and subject to evaluation.
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Evans, Michelle Louise. „Socioeconomic status and domains of creativity: Is the artist really starving?“ CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3240.
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Socioeconomic status (SES) influences many aspects of a person's life, and stereotypes concerning level of SES and the domain of creativity exist. It was hypothesized that children classified as low SES would perform more creatively in the visual arts and language arts domains of creativity than in the mathematic and scientific domains.
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Duran, Salvadó Noemí. „L’escola com una conversa entre desconeguts: Recercar amb infants a través de llenguatges artístics“. Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/84058.
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Aquesta tesi es planteja com un intent d’assajar altres formes d’habitar la institució escolar actual, dissenyada segons la legislació educativa vigent i que, en la majoria dels casos, es tradueix encara en la posada en escena d’una escola tradicional fruit de l’època de la industrialització.
A través d’una narrativa personal, l’autora entra a l’escola, recordant experiències pròpies com a alumna, com a mestra i com a recercadora, i interroga els dispositius que regulen les maneres d’estar i ser en el context escolar, posant en evidència les formes que es privilegien d’acord amb els discursos educatius hegemònics. Focalitzada en com es configura l’experiència de la subjectivitat a l’escola, la recercadora opta per realitzar el treball de camp en un centre educatiu d’Educació Primària que el 2007 va ser reconegut pel Govern Espanyol com a centre de referència en estratègies per a la Resolució de Conflictes i la Mediació. En aquest centre dur a terme una primera fase d’observació etnogràfica en què indaga sobre com circulen els relats personals dels infants a l’escola, explorant les possibilitats que el context escolar brinda perquè un infant esdevingui autor de sí mateix.
El gruix de la recerca recau en una segona fase en què la recercadora proposa a un grup d’infants explorar junts ‘què i com podem aprendre del que passa entre nosaltres a l’escola’. Es tracta d’una recerca compartida on tant la recercadora com els infants assagen altres formes de posar-se en joc en l’espai escolar, des de la inquietud d’explorar nous llenguatges per a l’educació, que ens facin més sensibles a la relació amb l’altre sense pensar-la de forma predeterminada. És en aquest sentit que es proposa la metàfora de l’escola com una conversa entre desconeguts, on la impossibilitat de conèixer l’altre es considera una oportunitat pedagògica ja que ens impulsa a explorar l’espai de la diferència de manera imaginativa i creativa.‘The school as a conversation with strangers: Researching with children through artistic languages’ This thesis pretends to rehearse alternative ways of inhabiting today's educational institutions. These centres have been designed in relation to current educational legislation, the majority of which is interpreted in a way that results in the enactment of traditional schools, which still bear the mark of the Industrial Revolution. Through personal narrative, the author goes back to school, recuperating her own experiences as a student, as a teacher, and as a researcher. She interrogates the structures that regulate ways of acting and being in the school context, bringing to light what forms are privileged by hegemonic educational discourses. Focussed on how the experience of subjectivity is configured in school, the researcher develops her fieldwork in a primary school in Catalonia, which in 2007 won a national prize from the Spanish government in honour of their Conflict Resolution and Mediation strategies and practices. In this centre, the first phase of the thesis (ethnographic observation) takes place, during which the researcher questions how children's personal stories circulate through the school environment, exploring the possibilities provided by the school for a child to become the author of his/her self. The bulk of the research takes place during a second phase, in which the researcher initiates an enquiry, together a group of children, into 'what and how we can learn from what happens between us in school'. This project is a shared research process, where both the researcher and the children rehearse other ways of getting involved in the school environment. This work stems from an interest in exploring new languages in education that can make us more sensitive to our relationships with each other, without defaulting to a predetermined mindset. It is in this regard that the metaphor of school as a conversation between strangers emerges, where the impossibility of knowing the other is seen as a pedagogical opportunity that drives us to explore the space of difference through our imagination and creativity.
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Patrick, Pauline. „Into the light : modelling artistic practices in schools“. Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5683/.
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There is a recognised tension between the different roles that teachers of art in secondary schools are required to adopt in the course of their careers. This study explores the hypothesis that a teacher who continues to practice art is better able to model artistic practices for pupils and that this is a valuable factor which argues in favour of teacher/artists continuing to practice both professions simultaneously. This issue is approached firstly through the author’s own experiences as an artist and art teacher, then through a literature review which covers the place of art in the curriculum, the Artist Teacher Scheme (ATS), the gap which is perceived to exist between so-called ‘school art’ and contemporary art, the making process, constructivist learning theories, the artist’s identity and the teacher’s identity. This section provides the theoretical underpinning for the study. Chapter Three presents the methodological framework: a constructivist paradigm is used and a/r/tography is incorporated to support the inclusion of the author’s visual art practice, art education research and teaching and learning experiences. The data corpus is analysed through grounded theory methods. The main data section in Chapter Four presents the narratives of twenty participants based in the UK who reflect upon the relationships that exist between their personal and professional lives and their identities as artists and teachers. Accounts of both past and present experiences are recorded and analysed in order to identify recurrent themes which emerge from the grounded theory process. This method consciously foregrounds the voices of the artists/teachers, allowing them to express their views in their own words. This, in turn, presents a window into their worlds, illustrating the way that they navigate through the tensions and competing demands of daily life as an artist/teacher. Where appropriate reference is made to visual material offered by the participants and forms of data drawn from schools and from art organisations with which the schools have contact. Inclusion of this material allows a full picture of the contexts of the narratives to be drawn and some of the concepts, issues and teaching outcomes to be illustrated through ‘concrete’ examples. In Chapter Five the themes identified in the narratives from the preceding chapter are analysed in light of the literature surrounding the topic and the author’s own experiences as an artist/teacher. These themes focus on the educational exchanges between the art teacher and the learner and the tensions which exist when an artist/teacher maintains an artist persona within the institutional framework of the secondary school. In the final chapter conclusions are drawn from a linkage between theory and practices which have been revealed through the literature review and the narratives. One of the most important conclusions is the acknowledgement that constructivist approaches favoured by artists can and should inform their pedagogy when they become professional educators. A number of recommendations are made in the light of the findings including implications for the wider educational community.
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Shepard, Kathryn Ann. „Engendered: An Artistic Treatise Against Gender“. Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71744.
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As humans, we are enslaved by language. The kind of knowledge we hold is both created and limited by language. Gender is a category socially constructed in language that helps to determine our expression.
Today, however, we are living in a world where the meaning of the words 'man' and 'woman' in our language are far more blurred than they used to be. Gender and sex are no longer considered binary structures by many and this presents interesting philosophical discussions. In fact one might even say there are 1,000's of tiny sexes (or genders) . So with the topic of gender (and sex) becoming a gray area what would a world completely devoid of gender terms look like? Are we constraining individuals by placing them within such a category as gender or are we taking something significant from them if we were to remove this label? Would we provide empowerment to oppressed genders by removing such labels or simply put them at further risk of domination by the oppressors?
In this thesis I would like to argue that the removal of gender terms would create more accurate self-identity by allowing for a broader spectrum of diversity and, as a result, further equity. Due to the strong bond between language and culture, my theory is that by slowly tweaking our language over time, while intermediately allowing for the resulting cultural changes, until gender terms are removed from our everyday lives we could develop a culture that has no ability to discriminate between what we currently consider different genders.Master of Arts
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Maresh, Karin Ann. „Struggles for recognition : the women artistic directors of Ireland's Abbey Theatre /“. The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588655.
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Zúñiga, López Daniela. „Los sentidos pedagógicos en una práctica artística dirigida para jóvenes dentro de un espacio cultural en Chile“. Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668227.
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Esta investigación doctoral, Los sentidos pedagógicos en una práctica artística para jóvenes dentro de un espacio cultural en Chlle, tuvo como intención Indagar sobre cómo se generan los sentidos pedagógicos en la relación que se establece entre una artista-profesora, los/las jóvenes participantes y una Investigadora en formación, durante el proceso de un taller de arte y activismo, desarrollado en Balmaceda Arte Joven (BAJ) en Santiago de Chile. Hablar de los sentidos permite repensar lo pedagógico desde múltiples dimensiones conceptuales, y no necesariamente desde un marco disciplinar escolar, sino desde diversas problemáticas, debates y prácticas que responden a la necesidad de prestar atención a la importancia de lo pedagógico desde la práctica cultural.
La presente tesis se organiza en cinco partes. La primera explica el porqué del tema de investigación y los posicionamientos que me han guiado. También presenta la perspectiva y las posiciones metodológicas adoptadas. En la segunda parte desarrollo un marco teórico sobre la noción de lo pedagógico, partiendo de las pedagogías culturales, el feminismo y la pedagogía crítica. La tercera parte relata mi acceso al BAJ, aludiendo al marco metodológico y al tránsito de la Investigación etnográfica hacia una Investigación de acción participativa. La cuarta parte da cuenta del trabajo de campo y del proceso de elaboración de una cartografía pedagógica colectiva, presentando cada una de las propuestas artísticas que la conforman. Finalmente, la última parte acoge el proceso de análisis y los datos que emergieron de esta experiencia, así como las reflexiones sobre el problema de estudio.
Dentro de los principales aportes de esta inv estigación encontramos el reconocimiento de los espacios culturales para la transformación social; así como la Inclusión del artivismo como una práctica educativa que permite a los jóvenes posicionarse políticamente dentro de un sistema que no siempre promueve esa posibllidad. Y por último, la Importancia de la cartografía como herramienta para comprender la construcción del significado desde una dlmensión relacional, y para generar espacios de Intercambio colectivo que posibiliten narraciones alternativas al discurso oficial.
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Jilka, Milan. „Artistic Learning in an MFA Community“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538710/.
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The purpose of this phenomenographical case study is to explore the ways in which a group of MFA students conceive of their learning as they are enmeshed within an MFA community. The research follows along two guiding research questions: 1) What does artistic learning involve for graduate students in an MFA community? 2) How is one's artistic practice shaped by one's active participation in an MFA community? The findings of this study have been presented as lines of artistic learning and help to show the various conceptions that MFA students have of their learning as artists while in an MFA program of study. Ultimately, it is in better understanding one's lines of artistic learning that MFA students can be better supported in their journeying to become professional, practicing artists.
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Travis, Sarah Teresa. „Portraits of Young Artists: Artworlds, In/Equity, and Dis/Identification in Post-Katrina New Orleans“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157583/.
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Using portraiture methodology and social practice theory, this study examined the identity work of young people engaged in a teen arts internship program at a contemporary arts center in post-Katrina New Orleans. This research asked four interrelated questions. Through the lens of a teen arts internship at a contemporary arts center in post-Katrina New Orleans, 1) How do contextual figured worlds influence artist identity work? 2) How does artist identity work manifest through personal narratives? 3) How does artist identity work manifest in activities? 4) What are the consequences of artist identity work? The findings of the study highlight how sociocultural factors influence dis/identification with the visual arts in young people and provoke considerations of in/equity in the arts.
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Yuksel, Onur. „A Sound-Based Intervention for The Artistic Encounter“. Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-329941.
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Art experience, as an important contributor to intellectual experiences, has been studied by many researchers and philosophers to unearth and enhance certain qualities of it [9,16,21,22]. One of the ways of interpreting profound forms of art experience has been relating it with “flow,” a term that indicates a holistic sensation with the act of total involvement, concentration, intrinsic enjoyment and action-awareness [7]. Previous studies argue that looking at art experience as a form of flow, reveals its structural characteristics and dynamics more clearly, and thereby discuss art experience as a flow-conductive activity [8]. Along with that, the flow phenomenon has been studied in the context of musical activities and argued to have strong links with the musical domain [3,5]. Little is known at the moment about how musical sound can facilitate flow in the context of an art experience. This study presents a research through sound design process, with the purpose of facilitating an enhanced art experience i.e., facilitating flow in the artistic encounter. The study presents two primary contributions: (1) a presentation of the design process, consisting of an explorative prestudy at Moderna Museet in Stockholm, a followup sound experiment in an artistic encounter and (2) findings from the evaluation at Uppsala Konstmuseum, focused on identifying the impact that the designed sound artefact has had on individuals’ experiences. The author argues that the sound artefact may create an immersive environment, help initiate the mindset for introspection through the interactive characteristics and elevate conditions for flow to an observable extent. Lastly, critical reflections on the design process are also included in the final chapter to benefit research through sound design community.Konstupplevelsen, som en viktig bidragande faktor till den intellektuella upplevelsen, har studerats av många forskare och filosofer i syfte att demaskera och förstärka dess särskilda karaktärsdrag [9,16,21,22]. Ett sätt på vilket sofistikerade former av konstupplevelser har tolkats har varit genom “flow”; ett begrepp som betecknar en holistisk förnimmelse genom totalt engagemang, koncentration, inneboende njutning och handlings-medvetenhet [7]. Tidigare forskning hävdar att genom att se konstupplevelser som ett “flow” avslöjas dess strukturella karaktärsdrag och dynamik på ett tydligare sätt. Konstupplevelsen undersöks på detta sätt som en aktivitet upplevd genom “flow” [8]. Vidare har begreppet “flow” studerats i relation till musikalisk aktivitet och har ansetts ha starka kopplingar till musikens område [3,5]. Kunskapen är i nuläget begränsad kring hur musikaliskt ljud kan främja “flow” i relation till en konstupplevelse. Denna studie baseras på metoden forskning genom design och har som syfte att främja en förhöjd konstupplevelse, med andra ord att underlätta “flow” i det konstnärliga mötet. Studiens två huvudsakliga bidrag består i: (1) en presentation av designprocessen genom en explorativ förstudie på Moderna Museet i Stockholm, ett uppföljande ljudexperiment i ett konstnärligt sammanhang och (2) resultaten av en utvärdering gjord på Uppsala Konstmuseum med fokus på identifieringen av vilken effekt den designade ljudartefakten har på den individuella upplevelsen. Författaren hävdar att ljudartefakten kan bidra till att skapa en omslutande miljö, bidra till att initiera ett introspektivt tankesätt genom de interaktiva karaktärsdragen samt öka förutsättningarna för “flow” i märkbar omfattning. Slutligen har kritiska reflektioner över designprocessen inkluderats i det sista kapitlet i syfte att bidra till forskningen inom ljuddesign.
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Baker, Christensen Leslie Michelle. „Artistic Drawing as a Mnemonic Device“. Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1476188042242805.
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Rowland, Elden R. „Social Creativity: The Geographic, Virtual, and Artistic Communities of Athens, Ohio“. Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1308313980.
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Persson, Åke. „Betraying the age : social and artistic protest in Brendan Kennelly's work /“. Göteborg : Acta universitatis gothoburgensis, 2000. http://catalogue.bnf.fr/ark:/12148/cb39136258q.
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Mazuela-Anguita, Ascensión. „Artes de canto (1492-1626) y mujeres en la cultura musical del mundo ibérico renacentista“. Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/84122.
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Esta Tesis Doctoral explora la cultura musical del mundo ibérico renacentista a través del estudio de artes de canto en lengua vernácula impresas entre 1492 y 1626 y de su relación con las mujeres de la época. La Tesis consta de siete capítulos, estructurados en dos partes (Vol. I), y de veinte apéndices (Vol. II). La primera parte (Capítulos I al IV) muestra que las características por las que estos libros que contenían los rudimentos de la música han sido infravalorados hasta ahora por la historiografía musical son precisamente las mismas que demuestran que respondían a una necesidad pedagógica y a la demanda de manuales asequibles, breves y prácticos por parte de un amplio mercado. Las artes de canto se imprimieron en tiradas de miles de ejemplares y eran vendidas a bajo precio, tuvieron una enorme circulación en la Península Ibérica y el Nuevo Mundo, y contribuyeron al incremento y la difusión de la educación musical en contextos educativos diferenciados (la iglesia, la universidad y el ámbito privado), así como entre grupos sociales hasta entonces excluidos del aprendizaje de los fundamentos de la música. El Arte de canto llano (Sevilla, 1530) de Juan Martínez emerge como el tratado de música del mundo hispánico más difundido geográfica y cronológicamente en el siglo XVI e inicios del XVII, pero del que casi nada se sabía. En la segunda parte (Capítulos V al VII), las conexiones entre estos libros de música y mujeres muestran que las áreas de superposición entre lo privado y lo público y entre lo oral y lo escrito permiten desafiar la invisibilidad de las mujeres en documentos históricos y vislumbrar trazas no sólo de la cultura musical de las mujeres de la época, sino también de la importancia de la música en la vida cotidiana. Se utiliza una diversidad de fuentes (artes de canto, libros de conducta, documentos inquisitoriales, literatura, correspondencia e inventarios de bienes, entre otras), a través de las cuales se ha podido documentar la relación con la música de, entre otras, Catalina de Zúñiga, VI Condesa de Lemos, Isabel de Plazaola, e Isabel de Aragón, IV Duquesa del Infantado. Empleando metodologías de la musicología tradicional junto a otras tomadas de los historiadores del libro y de la cultura popular, esta Tesis Doctoral presenta una panorámica de la vida musical de la época a través del prisma de doble alteridad que supone el estudio de las artes de canto, generalmente consideradas carentes de interés, y de su relación con las mujeres, insuficientemente representadas en la historiografía musical.This dissertation explores the musical culture of the Renaissance Iberian world through both the study of small-format treatises in the vernacular containing the rudiments of music –known as artes de canto– printed between 1492 and 1626, and the nexuses between them and women. The dissertation consists of seven chapters, structured into two parts (Volume I), and twenty appendixes (Volume II). Part I (Chapters I to IV) shows that the arte de canto, until now generally overlooked or undervalued in music historiography, was produced in print runs of thousands of copies and sold for a low price; it had a broad circulation in the Iberian Peninsula and the New World, contributing to the spread of musical literacy in distinct didactic contexts (churches, universities, private settings) and among social groups until then excluded from learning the rudiments of music. The little known Juan Martínez’s Arte de canto llano (Seville, 1530) emerges as the most circulated music book in the Hispanic world during the sixteenth and seventeenth centuries. The aim of Part II (Chapters V to VII) is to approach the musical life of the sixteenth-century Iberian world through the exploration of women’s contributions, thus broadening the field of historical research. The study of some connections between music books and women shows that the points of overlap between the private and the public spheres, on the one hand, and the written and the oral music transmission, on the other hand, not only make women’s musical practices visible, but also offer new vistas on the popular culture of the age. Through a variety of source materials (artes de canto, conduct manuals, Inquisition records, literature, letters and inventories of goods, among others) it has been possible to document the musical activities of women such as Catalina de Zúñiga, VI Countess of Lemos, Isabel de Plazaola, and Isabel de Aragón, IV Duchess of the Infantado. Combining methodologies from traditional musicology with those borrowed from book history and popular culture, this dissertation analyzes music in the culture of the Renaissance Iberian world through the prism of double Otherness involved in studying the ‘other’ music books –that is the undervalued artes de canto– and their connections to women of that period.
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Mirkin, Philip Joshua. „The effect of holistic artistic devices on learner interest in Grade 9 Chemistry“. Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65445.
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The practice of science requires careful observation, experimentation and rational thinking accompanied by imaginative and intuitive insights to thrive in a mood of cutting edge exploration. South African Grade 9 Chemistry deals with established facts, usually devoid of artistic stimuli for capturing the imagination or awakening the intuitions of most learners. Many previous attempts to use the arts in the teaching of Chemistry are limited to the use of pictures, and less often, music and drama which are often superficial or even distracting from the real content. Most research into Science education has its focus on improving academic results with almost no research being conducted in the use of holistic, artistic devices to improve learner interest. Child-centred, holistic education indicates that the integration of rational logic with personal, intuitive knowing through story and the arts is a seed to sustained learner interest. This study used video-recorded experiments and a poem with holistic use of story, metaphor, rhythm and rhyme to characterise the behaviour of acids, bases and salts, to awaken greater learner interest. Class discussion centred on inquiry-based learning which challenged the validity of the characterisations used in the poem, completed the holistically integrated intervention. Changes in learner interest levels were determined by matched pairs in the pre-test and post-test. The research was undertaken with 222 learners from four schools in the greater Tshwane region. The results show that such holistically integrated devices, or stimuli, significantly increased learner interest through good engagement in the lesson as well as an improved perception of their grasp of the content, feelings towards Chemistry and relevance of Chemistry for their lives. As a first-of-its-kind research, further research in the use of appropriate holistic, artistic devices in Science education is recommended. Research into the longer-term use of such devices as well as the effects on learner academic results should be tested. This research indicates that teachers should consider providing a greater context and characterisation, with a broader range of stimuli, when presenting Chemistry to Grade 9 learners to allow them to relate to the experimental and academic content in a more imaginative, intuitive and personally meaningful way. The presentation of this dissertation will follow the courses of a dinner feast in the hope that the reader will be nourished holistically on multiple levels.Dissertation (MEd)--University of Pretoria, 2017.
Humanities Education
MEd
Unrestricted
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Chandler, Chelsea Beth. „The Art of Teaching: Understanding the Lived Experience of Artistic Teachers“. University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438892983.
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Morelyle, Karen Penny. „Local instances of social resistance, artistic expressions in the age of globalization“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57711.pdf.
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Ng, Kah-Ming. „Figured bass accompaniment at the harpsichord in its social and artistic context“. Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249865.
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Fouche, Pierre. „The distance between us : strategizing a queer, artistic, personal and social politic“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2006.This thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
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Morelyle, Karen Penny Carleton University Dissertation Canadian Studies. „Local instances of social resistance; artistic expressions in the age of globalizaiton“. Ottawa, 2000.
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Dieterich, Danielle May. „Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age“. University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.
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D'Oliveira, Auta Inês Medeiros Lucas, und Auta Inês Medeiros Lucas D'Oliveira. „Nas águas da AGA: reflexões sobre a Associação Gaúcha de Arte-Educação e seus reflexos na história do ensino da arte no RS“. Universidade Federal de Pelotas, 2014. http://repositorio.ufpel.edu.br/handle/ri/2767.
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Este estudo, intitulado Nas Águas da AGA – Reflexões sobre a Associação Gaúcha de Arte-Educação e seus Reflexos na História do Ensino da Arte no RS, refere-se a uma investigação desenvolvida junto ao Núcleo Transdisciplinar de Estudos Estéticos, NUTREE, do Curso de Pós Graduação em Artes Visuais, Mestrado, na linha de Pesquisa Ensino da Arte e Educação Estética, na Universidade Federal de Pelotas, RS. Apropria-se de uma relação metafórica água/ AGA para focalizar a influência dos grupos afetivos, tribos e associações de Arte Educação na história do ensino da arte no RS. Parte de experiências vividas em minha formação e chega à perspectiva ético-estética da arte de viver sob a socialidade - configuração que inclui a paixão no seio do social. A investigação é qualitativa, e se divide em momentos distintos, realizando um percurso metodológico que oscila entre narrativas biográficas e autobiográficas e uma análise documental sobre a trajetória da Associação Gaúcha de Arte-Educação, a AGA. Foram adquiridos depoimentos de ex-presidentes e militantes da AGA/RS, além de dados recolhidos em centenas de documentos, entre eles, boletins, fotografias, cartas, manifestos, livro de atas, panfletos, jornais, cartazes e programas de eventos em um acervo rico e inédito disponibilizado pelos protagonistas da história da AGA. Somente uma parte deste acervo foi analisado neste trabalho, organizado através da constituição de sete portos e alguns mergulhos, metáforas construídas para o trabalho que consideraram um porto para cada presidente da AGA, e um mergulho para cada evento relacionado à minha própria história de vida em formação. Paralelamente, transversalizou-se a relação da história desta associação com a história do movimento de arte-educação no RS e com a minha interpretação e inserção nesta história. Os principais teóricos que embasaram esta pesquisa foram Michel Maffesoli, com sua análise sociológica contemporânea baseada nas categorias de tribo e socialidade, Edgar Morin, através de seu paradigma da complexidade, e Michel Serres, cujas contribuições filosóficas mestiças respaldaram muitas de minhas considerações sobre o momento histórico que atravessamos. Além deles, Marie-Christine Josso e Christine Delory Momberger contribuíram com a utilização das narrativas (auto) biográficas, além de Zygmunt Bauman, com seu conceito de modernidade líquida, que forneceu suporte teórico à metáfora das águas que umedece toda esta reflexão. As principais categorias utilizadas para analisar os depoimentos foram a razão sensível, a socialidade, a relação poder-potência e as tribos contemporâneas, todas fundamentadas, em sua grande maioria, na obra de Michel Maffesoli. Espera-se que esta investigação possa contribuir com um espaço reflexivo, politico e poético de (re)constituição da história, da memória, dos afetos e cognições deflagrados pela arte-educação , em direção a uma atuação cada vez mais consciente do professor de arte no cotidiano da escola e da sociedade.
This study , entitled “Nas Águas da AGA – Reflexões sobre a Associação Gaúcha de Arte-Educação e seus Reflexos na História do Ensino da Arte no RS” refers to a research carried out at the Center for interdisciplinary Aesthetic Studies , NUTREE , of Course Postgraduate degree in Visual Arts, Master Arts in Teaching Art Research and Education Aesthetics line at the Federal University of Pelotas, Brazil. Appropriates a metaphorical water / AGA to focus on the influence of affective groups , tribes and associations of Art Education in the history of art education in RS . Part of my experiences in training and comes to the ethical- aesthetic perspective the art of living in the sociality - configuration which includes the passion within the social . The research is qualitative , and is divided into distinct periods , performing a methodological approach that oscillates between biographical and autobiographical narratives and documentary analysis of the trajectory of the state association of Art Education , AGA . Testimonials from former presidents and members of AGA / RS were acquired , and data collected from hundreds of documents , including , newsletters , photographs, letters , manifestos , minutes book , pamphlets, newspapers , posters and event programs in a library rich and unprecedented provided by the protagonists of the history of AGA . Only a portion of this collection was analyzed in this work , organized by setting up seven ports and some dips , metaphors built to work that considered a port for each president of AGA , and a dip for each event related to my own life story in training . In parallel , it crossed the relationship of history of this association with the history of the movement of art education in RS and with my interpretation and inclusion in this story . The main theoretical that supported this research were Maffesoli , with its contemporary sociological analysis based on categories of tribe and sociality , Edgar Morin , through their paradigm of complexity, and Michel Serres , whose crossbred philosophical contributions have supported many of my considerations about the timing history we are experiencing. Besides them , Marie - Christine and Christine Delory Josso Momberger contributed to the use of narratives (auto ) biographical, and Zygmunt Bauman , with his concept of liquid modernity, which provided theoretical support to the metaphor of water that moistens all this reflection. The main categories used to analyze the statements were sensitive reason, sociability, relationship power - power and contemporary tribes , all based , mostly , on the work of Michel Meffesoli . It is hoped that this research can contribute to a reflective, poetic and political space ( re) constitution of history, memory, emotions and cognitions triggered by art education toward a more conscious action ever Art Teacher daily at school and society .