Dissertations / Theses on the topic 'Teaching as an art'
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Allen-Masacek, Marjorie Kirsten. "Teaching ARTifacts: Teaching art with a cultural lens." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1925.
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Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.
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Doctor of PhilosophyThis arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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Tooley, Sally Helene. "The Art in Teaching Writing." TopSCHOLAR®, 2009. http://digitalcommons.wku.edu/theses/83.
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Jensen, Jordan. "A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2861.
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Most colleges and universities offer a general course in elementary art education to provide instruction to the elementary generalist to enable that student to later provide art instruction to students at the elementary level. This course is commonly referred to as the two-credit course in elementary art education throughout this thesis. This thesis is a case study investigation of a certified elementary art specialist and a non-art certified teacher teaching elementary art in the Subject School District in Utah. It asks and gathers data on three main questions. How is art education valuable for elementary students? What is a quality elementary art curriculum? How does an elementary art specialist change the learning experience of elementary art students? Under these three main questions the following questions are also considered: Where do teachers obtain their curricula? What research exists that describes differences between art specialists and non-art specialists teaching elementary art? What were the qualities within each art room? What types of art projects are being taught in these two different classrooms?Further, a survey was constructed to seek answers about the attitudes towards art education in the Subject School District in relation to the three questions under consideration. To ensure the maximum in statistical accuracy, the survey was sent to every elementary school in this district including all elementary administrators. The survey contained 49 statements on attitudes towards elementary art education. There were 129 elementary educators and administrators out of 2,300 from Subject School District that responded. The data from the survey was analyzed to determine where these attitudes lie and the thoughts on the importance of art education at the elementary level. The results of this survey show the typical elementary educator in Subject School District feel the arts are indeed an important part of the elementary curriculum. However, the majority do not feel fully prepared to teach a quality elementary art curriculum and feel elementary art should be taught by art specialists.
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Kim, Sunah Irvine Hope. "Art in schools: considering the profession of teaching secondary art." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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Gray, Carole. "Teaching styles in higher art education." Thesis, University of Aberdeen, 1988. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=128434.
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The purpose of this study was to identify teaching styles in higher art education. The research was qualitative, and the methodology was one of triangulation, involving the views of lecturers, students, and the observer (author). Preliminary interviews with students and staff at one college provided the framework for the research and highlighted basic important variables in teaching art at college level. A 3D perspex model was designed to encourage lecturers to exteriorize and articulate in a visual/spatial way the various emphases they had in their teaching. The resultant form was a 3D 'concept map', indicating the person's approach or style. The research was replicated at another college, and extended by videotaping lecturers teaching, and interviewing students. Cluster analysis was used with the model data to establish groupings of lecturers, and when cross-referenced with the analysis of student interviews and videotapes/observations resulted in four different styles of teaching, which were labelled 'Fundamentalist', Structurist', 'Objectivist', and 'Artist'. There was found to be no real difference in style that could be attributed to the two different institutions; length of teaching experience markedly influenced styles; aims objectives and philosophies of courses had a strong influence on teaching styles.
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Partin-Harding, Melissa C. "Innovative Teaching Strategies: Teaching Art Photography In The Digital World." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308282675.
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Netto, Amelia M. "ESOL Students in the Art Room: An Art Educator's Resource Guide." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/100.
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The research conducted in this thesis is centered on the ESOL Hispanic student population, in the art classroom in Georgia. The information contained in this paper is meant to serve as a guide and resource for art educators with high populations of ESOL students in their classrooms. A review of current ESOL best practices in several content areas is included. Based on the research, guidelines and suggestions for accommodating these learners in the art room were developed, as well as a sample unit that includes three lesson plans, PowerPoint presentations and assessment rubrics.
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Ayers-Arnone, Rachael Marie. "Culturally relevant teaching in the art classroom." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2816.
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As a practicing in-service teacher, I designed this qualitative study to explore of the use of culturally relevant curriculum in my junior high art classroom. I used participatory action research to complete this research over the span of two school years. This research allowed me to identify the elements necessary to teach a culturally relevant curriculum, such as teacher background, student-centered teaching and school support. This data is combined with stories of my experiences growing up and stories from the field. I detailed and analyzed community performance art, mask-making and installation art projects for effectiveness and student engagement. Focus groups were a major component of my data collection; I used this data to gain further information from students about their thoughts on what makes an engaging classroom and lesson. Through this study I found a high level of engagement by students. I matched my students engagement with a reciprocal level of emotional input. This study concludes with a call for more research of this kind to be completed by practicing teachers using action research in their classrooms.
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Crowder, Julie. "Teaching Mourning." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/215.
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Abstract TEACHING MOURNING By Julie Ann Crowder, MAE A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art Education at Virginia Commonwealth University. Virginia Commonwealth University, 2011 Major Director: Sara Wilson McKay, Ph.D. Interim Department Chair and Associate Professor, Art Education As a researcher I sought to understand the following research questions: 1) What were the official policies and protocols that went into effect at William Fox Elementary School after the murder of the Harvey family in January of 2006? 2) What were the experiences of the staff and parents at William Fox Elementary School after the murder of the Harvey family? 3) What critiques and or suggestions do the employees and parents have of the personal or official policies or protocols, which were carried out after the murder of the Harvey family? The purpose of this research was layered. This research was necessary in order to create an accurate picture of the difficult emotional reactions of teachers attempting to teach students how to mourn while mourning themselves. Additionally, this study identified how teachers were able to continue about the business of every day life and education when they were dealing with difficult emotional issues. Participants at William Fox Elementary experienced the tragic death of the Harvey family on New Year’s Day 2006. This research illuminated possible new ways of looking at mourning, the public/media, and ways of handling these difficulties. This research could lead to the creation of new policies or protocols that would better serve the mourning populations in schools, which lose members to violence. The members of this study were William Fox Elementary employees or parents who were on present during and after the Harvey murders. Special attention was given to the IRB process. Seven participants who had a great deal of contact with Stella were selected. The PTA-funded Art Explosions teacher, Stella Harvey’s classroom teacher, the principal, the guidance counselor, a parent, the music teacher, and the librarian were all participants. Significant findings include: the importance of the speed and selection of information given to adults at the time of a tragedy, and the child information networks that form when children are not completely informed. Additionally a variety of information and thoughts are given on the subject of mourning, both public and private. Implemented and suggested healing techniques were investigated. Lastly, several uncomfortable issues that arose, such as race and rage were explored.
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House, Nancy Ellen. "Teaching art history to adult students: A teaching model and pilot study /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487943341526939.
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Camara, Del. "Visual arts: Teaching creativity from within." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3628.
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In the ever-changing world of visual arts education, there is a gap in the literature about the incorporation of creativity, risk-taking, and play in the curriculum. The purpose of this study was to understand how high school visual arts educators teach visual arts and creativity in the age of digital media, including the practices art teachers use to engage their students in their development of art-making and ways teachers encourage students to take risks in art-making practices. Utilizing an arts-based research method focusing on four case studies in the Central Valley of California, this inquiry examined the way visual arts educators teach the arts at the high school level. Further, this study used data sources of classroom observations, surveys, and one-on-one interviews. Data analysis utilized the theoretical lens of multiple intelligences to examine the different ways each visual arts teacher teaches visual arts. Findings indicated that there is a need for a common definition of creativity, student-teacher relationships are critical for improving students’ efforts in the arts, learning about the visual arts develops skills that students can use throughout their lifetime, and students from lower socioeconomic backgrounds tend to be more willing to take risks in their artwork. Recommendations for further research and policy for school leaders conclude this study.
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Kowalchuk, Elizabeth Ann. "The effects of art knowledge, pedagogical experience, and contextual information on art teaching /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487778663286981.
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Vivoni-Alcaraz, Paul Hobbs Jack A. "Teaching goals among art faculty in Puerto Rico." Normal, Ill. Illinois State University, 1985. http://wwwlib.umi.com/cr/ilstu/fullcit?p8514786.
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Thesis (Ed. D.)--Illinois State University, 1985.Title from title page screen, viewed June 21, 2005. Dissertation Committee: Jack Hobbs (chair), William Tolone, Fred Mills, Richard Stivers, Max Rennels. Includes bibliographical references (leaves 71-74) and abstract. Also available in print.
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Pentland, Kathleen Ann. "Similarities and differences in perceptions held by secondary art teachers, secondary art students and animators on the role and character of animation in art education." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28998.
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The purpose of this study was to discover similarities and differences in opinions held by secondary art teachers, secondary art students and animators on the role and character of animation in art education. The problem was to determine whether the relative neglect of animation as a part of the art curriculum has come about because the techniques and concepts associated with it are seen as difficult and/or unnecessary to implement by teachers; or whether students are unfamiliar and uninterested in animation as a field of study; or whether animation, in the opinion of professional animators, is not a suitable subject for study.
The study was conducted with five secondary art teachers, nine secondary art students and three professional animators. Informants responded verbally to questions posed by the researcher. These responses were documented on a tape recorder and later transcribed for analysis.
Responses from the informants generated data relating to five areas of animation: 1) defining animation, 2) potent images, 3) popular culture, 4) careers and 5) backgrounds.
The study showed that although animation is a part of students1 popular culture and students are interested in it, teachers are not currently teaching it. Technical difficulties prevent them from doing so, despite the fact that they acknowledge animation as an important art form. The other findings in this study are that both teachers and students are often not consciously aware that they are watching animation; and that there are many misconceptions and prejudices associated with the medium.
Implications for art education are discussed.Education, Faculty of
Graduate
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Griner, Downi, and Downi Griner. "Art Student Teaching Seminar: Negotiating Meaning Through Inquiry." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/620880.
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This study aims to explore how the art student teaching seminar can serve as a space for inquiry and reflection, and how student teachers process their experiences, negotiate personal meanings, and understand teaching complexities through inquiry based methods. The overarching question in this research study asked: How might participation in an inquiry based seminar impact the meaning student teachers make from their practicum experiences? In order to address this main question, I employed three sub-questions: How do art student teachers perceive and describe their teaching field experiences in a seminar space? What kinds of inquiry activities can facilitate reflection with art student teachers? How do art teachers relate to and value inquiry based methods of reflection?I approached these questions through a constructivist framework that supports the idea that individuals actively construct and reconstruct their own understandings, meanings, and ultimately knowledge of the world through experience and reflection upon these experiences. Utilizing a case study methodology I designed a multi-case qualitative study that aimed to interpret the student teacher seminar through the experiences of four art student teacher participants. I was the facilitator of the student teaching seminar course at a large, public university in the Southwestern United States and the art student teachers and I met roughly every two weeks, over the course of a 16 week semester, on the university campus. I implemented a scaffolded, inquiry based curriculum which offered a variety of methods aimed to encourage inquiry and promote reflection amongst student teachers. Research data consisted of seminar audio recordings, participants' written journal entries, participants' artworks, and my reflective researcher notes. Employing narrative data analysis I constructed a case for each participant using the assignments as both chronological organization and categorical scaffolding for the arrangement and presentation of the data. I then compared the individual cases to identify similarities and differences within the whole. My analysis of research findings indicated the following: First, student teachers identified personal concerns related to affective awareness, vulnerability from uncertainty, desire for efficacy, and identity confusion during their student teaching experiences. Second, written forms of inquiry produced evidence of open-mindedness and responsibility amongst student teacher participants, while artistic forms of inquiry yielded evidence of wholeheartedness and self-knowledge amongst student teacher participants. Third, the data indicated that although benefits could be located in written inquiry, participants attached little value or meaning to this method; whereas, artistic inquiry was perceived as an especially impactful and meaningful method of inquiry by student teacher participants. Overall, the student teaching seminar served as a space where student teacher participants shared stories, described contexts, identified issues, navigated tensions, and exhibited personal and insightful developments that demonstrated reflective learning connected to self-understanding and personal growth. Implications for the research suggest that facilitators of such a course should have a concentrated awareness of the constraints of the seminar structure; approach problem exploring rather than problem solving techniques with teacher candidates; and that there is an acute need for supportive and safe spaces for student teachers to process their experiences through multiple methods. This study generated detailed insight into art student teachers' unequivocally unique, yet fundamentally shared journeys, in processing, negotiating, and ultimately understanding their practicum experiences. Keywords: student teacher, seminar, inquiry, reflection, artmaking, art education
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Wang, Li-yan. "Teaching Art in an Age of Technological Change." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392038782.
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Ammar, Khalifa Sharef Salem. "PROPOSED GUIDELINES FOR THE IMPROVEMENT OF THE ART AND ART TEACHER EDUCATION PROGRAMS AT AL-FATEH UNIVERSITY IN LIBYA." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/298784.
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Visual arts education provides the knowledge, skills and attitudes necessary for students to become more responsive and responsible citizens who are aware of the interaction among the visual, aesthetic, economic and social aspects of their culture. A well-prepared visual arts educator is an essential contribution to the quality of student learning in this area of education. The purpose of this study was to suggest a series of guidelines and recommendations for the improvement of the art and art teacher education at Al-Fateh University in Al-Jamahiriya (Libya). Development of these guidelines and recommendations was based on the following steps: (1) Review and examination of developments and trends in Al-Jamahiriya's formal education system. These included secondary education, teacher preparation, and visual art education. (2) Examination of the present art education program at Al-Fateh University and its role in preparing qualified visual art teachers for Al-Jamahiriya's secondary schools. (3) Comparative study of selected factors pertaining to art education teacher preparation at Al-Fateh University and four exemplary American universities. (4) Library research regarding current thought and practices in the areas of visual art education and teacher preparation. A questionnaire was also developed and sent to the art education department at Al-Fateh University to help obtain descriptive data concerning the teacher education program. A panel of experts at the University of Arizona had identified four exemplary American university art education programs. These programs were examined as part of this study. Recommendations are made regarding selected improvements in the art and art teacher preparation programs at Al-Fateh University.
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Sions, Hannah. "TEACHING ABOUT RACIALLY DIVERSE ARTISTS AND CULTURES." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5795.
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Art education scholars have redefined multicultural teaching practices to include a need for addressing social inequities. To understand art educators’ multicultural teaching practices, it is important to measure the extent to which they present cultural diversity in the classroom and present a racially diverse pool of artists. The purpose of this this quantitative, nonexperimental study was to measure the extent to which practicing K–12 art educators who are members of the National Art Education Association (NAEA) engage students with racially diverse artists and cultures within their curricula. The study aimed to measure the extent that educators address racial and cultural diversity in their classrooms. The study also gathered data on which resources participants indicated would help create and implement curricula that addresses racially diverse artists and cultures. Finally, the study explored the relationships between seven different teachers’ self-reported attributes and the extent that they taught about and valued racial/cultural diversity. The findings show that educators taught about racial and cultural diversity to regularly in their classroom practices and they also voiced a need for more resources to teach more about racially diverse artists and cultures, specifically visual resources and education/training regarding racially/culturally diverse content. Findings also indicated that educators who taught 21+ years, taught predominantly students of color, and those who were more comfortable with conversations pertaining to racial/cultural diversity were more likely to value the importance of racial/cultural diversity in their curricula. The results suggest that resources, such as education, training, or professional development, should be offered to educators in the field so that they may continue learning new language concerning diversity as perceptions and understandings continue to shift.
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Kean, Rexford C. "Art across the curriculum : pedagogical principles to inform teaching /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq25855.pdf.
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Drew, Linda. "The experience of teaching in art, design and communication." Thesis, Lancaster University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.417492.
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McArdle, Felicity. "Art in early childhood : the discourse of 'proper' teaching." Thesis, Queensland University of Technology, 2001.
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This thesis is a problematisation of the teaching of art to young children. To
problematise a domain of social endeavour, is, in Michel Foucault's terms, to ask how
we come to believe that "something ... can and must be thought" (Foucault, 1985:7).
The aim is to document what counts (i.e., what is sayable, thinkable, feelable) as
proper art teaching in Queensland at this point ofhistorical time. In this sense, the
thesis is a departure from more recognisable research on 'more effective' teaching,
including critical studies of art teaching and early childhood teaching. It treats 'good
teaching' as an effect of moral training made possible through disciplinary discourses
organised around certain epistemic rules at a particular place and time.
There are four key tasks accomplished within the thesis. The first is to describe an
event which is not easily resolved by means of orthodox theories or explanations,
either liberal-humanist or critical ones. The second is to indicate how poststructuralist
understandings of the self and social practice enable fresh engagements with uneasy
pedagogical moments. What follows this discussion is the documentation of an
empirical investigation that was made into texts generated by early childhood
teachers, artists and parents about what constitutes 'good practice' in art teaching.
Twenty-two participants produced text to tell and re-tell the meaning of 'proper' art
education, from different subject positions. Rather than attempting to capture 'typical'
representations of art education in the early years, a pool of 'exemplary' teachers,
artists and parents were chosen, using "purposeful sampling", and from this pool,
three videos were filmed and later discussed by the audience of participants.
The fourth aspect of the thesis involves developing a means of analysing these texts in
such a way as to allow a 're-description' of the field of art teaching by attempting to
foreground the epistemic rules through which such teacher-generated texts come to
count as true ie, as propriety in art pedagogy. This analysis drew on Donna Haraway's
(1995) understanding of 'ironic' categorisation to hold the tensions within the
propositions inside the categories of analysis rather than setting these up as discursive
oppositions. The analysis is therefore ironic in the sense that Richard Rorty (1989)
understands the term to apply to social scientific research.
Three 'ironic' categories were argued to inform the discursive construction of
'proper' art teaching. It is argued that a teacher should (a) Teach without teaching; (b)
Manufacture the natural; and (c) Train for creativity. These ironic categories work to
undo modernist assumptions about theory/practice gaps and finding a 'balance'
between oppositional binary terms. They were produced through a discourse theoretical
reading of the texts generated by the participants in the study, texts that
these same individuals use as a means of discipline and self-training as they work to
teach properly.
In arguing the usefulness of such approaches to empirical data analysis, the thesis
challenges early childhood research in arts education, in relation to its capacity to deal
with ambiguity and to acknowledge contradiction in the work of teachers and in their
explanations for what they do. It works as a challenge at a range of levels - at the
level of theorising, of method and of analysis. In opening up thinking about
normalised categories, and questioning traditional Western philosophy and the grand
narratives of early childhood art pedagogy, it makes a space for re-thinking art
pedagogy as "a game oftruth and error" (Foucault, 1985). In doing so, it opens up a
space for thinking how art education might be otherwise.
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Dafiotis, Panagiotis. "Art practice as a form of research in art education : towards a teaching artist practice." Thesis, Institute of Education (University of London), 2011. http://eprints.ioe.ac.uk/7362/.
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Although the borders between art practice and domains like philosophy have been questioned, education and its relation to art seems somehow to be overlooked in these exchanges. In my arts-led research I examine the ways the teaching artist may be able to cross the borders between art and education to produce a hybrid field in which hierarchical distinctions are questioned and the voices of students legitimised. Through my own practice as a teaching artist I am attempting to recognise, theorise, ground and develop a framework for this hybrid field. In my practice-led PhD I am trying to create space for an alternative, parallel possibility within art education. To do so, I draw on the work of Kester (2004) and Bourriaud (2002) who analyse dialogic artworks and relational aesthetics (respectively). I perceive art lessons as artistic events in the relational sense and the space where these exchanges take place, as an ever-evolving installation artwork. To this effect I have created a series of multimodal installations, which question the dichotomy of visual arts and pedagogy. These installations became increasingly participatory 'culminating' in a project, (The Benevolent Trap' May, 2010) which involved pertinent presentations and discussions with fellow students. Affect through the visual becomes the fulcrum for inciting dialogue on the relation between art and meaningmaking. On a theoretical level I draw on Deleuze and Guattari, and particularly on their notions of the 'rhizome' and 'smooth space'. In my practice-based research project I therefore explore art making as a meta-process in which making about making becomes a way of thinking about thinking. The quest though is to create a space where participants can revisit their own assumptions and reflect on them.
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Head, Donna J. "Advanced Placement Art History: Effective Teaching Strategies in the Art Beyond the European Content Area." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1037.
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This thesis presents a study of current research on effective teaching strategies in art beyond the European tradition content area of the Advanced Placement Art History (APAH) examination administered by the College Board. Three Advanced Placement Art History teachers participated in this study. Each teacher demonstrated successful and effective strategies in her APAH program. The criteria for selection required that each participant taught the class for three years (2001-4) and their students scored higher than the national average as published by the College Board. Each teacher discussed with the author how they teach the art beyond the European tradition content area. Presented in this study are teaching strategies each participant used in the classroom. Emphasis is placed on effective strategies that ask the students to participate in their learning.
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Shaw, Peter. "The conceptions of art practice held by tertiary visual art students." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36703/1/36703_Digitised%20Thesis.pdf.
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This study explores student learning in a tertiary visual arts institution. Students' conceptions of art practice are described using the phenomenologically based educational research method of phenomenography. The study addresses the intentional content of student art practice in the contexts of the visual arts institution and the status of visual arts in the 1990s. Data collection was carried out through interviews with Honours Year visual arts students, which was processed using textual analysis to examine understandings related to the visual arts.
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Bamford, Anne Kathleen. "The qualities of primary art teachers /." Electronic version, 2002. http://adt.lib.uts.edu.au/public/adt-NTSM20041011.182559/index.html.
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Ibrahim, Md Nasir. "The development of value awareness through art education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50524.pdf.
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Nicula, Jessica Y. "Teaching Boys More Effectively in the Art Classroom: A Personal Investigation." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/91.
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In this thesis, I reflect upon an art educator’s experience teaching boys and developing an art curriculum with a boy focused framework. Two comprehensive units on monsters are included along with research on teaching boys and choice based practices in the art classroom. I also reflect on the creative process of lesson planning with the needs of male learners in mind.
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Phillips, Julie K. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1451.
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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written masters thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as well as that used within the field. We establish a hierarchy of terms associated with teaching in collaborative forms. We then describe the various models associated with collaborative teaching, specifically the model which we have employed: team teaching.Chapter 2 explores the reasons for and against implementing collaborative teaching structures in higher education. Chapter 3 discusses team teaching specifically, and explores reasons for implementing it at the university level, and in artistic disciplines, specifically acting. We also discuss the practical appropriateness for this model in today's classrooms.The second section of the text is practical in nature. Chapter 4 includes a description of our actual experiences working together in the classroom, including discoveries, failures and successes. Finally, Chapter 5 is a guide for implementing team teaching which covers the basic essentials of starting a team teaching program. This section of the document can be used as a training tool for future co-teachers in the VCU theatre graduate program.
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Neilsen, Jenna M. "The Art of Collaboration in the Classroom: Team Teaching Performance." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/912.
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The Art of Collaboration in the Classroom: Team Teaching Performance is a co-written master's thesis which records our research in the field of team teaching as it relates to theatre education at the university level. It is our intent that this text be used as a tool for helping universities and teachers decide if a collaborative teaching model is right for their courses. A portion of the text is research-based, examining the scholarly writings which have preceded our work. In Chapter 1, we compiled a set of definitions, in the hopes of codifying the language used within this document as well as that used within the field. We establish a hierarchy of terms associated with teaching in collaborative forms. We then describe the various models associated with collaborative teaching, specifically the model which we have employed: team teaching.Chapter 2 explores the reasons for and against implementing collaborative teaching structures in higher education. Chapter 3 discusses team teaching specifically, and explores reasons for implementing it at the university level, and in artistic disciplines, specifically acting. We also discuss the practical appropriateness for this model in today's classrooms.The second section of the text is practical in nature. Chapter 4 includes a description of our actual experiences working together in the classroom, including discoveries, failures and successes. Finally, Chapter 5 is a guide for implementing team teaching which covers the basic essentials of starting a team teaching program. This section of the document can be used as a training tool for future co-teachers in the VCU theatre graduate program.
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Disque, J. Graham, and D. Henderson. "Art and Music as a Process for Teaching Counseling Concepts." Digital Commons @ East Tennessee State University, 1996. https://dc.etsu.edu/etsu-works/2834.
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McSorley, Julie A. F. "Primary school teachers' conceptions of the teaching of art criticism." Thesis, Queensland University of Technology, 1993. https://eprints.qut.edu.au/36691/1/36691_Digitised%20Thesis.pdf.
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Zheng, Jie Jane, and 鄭潔. "The Shanghai Art College, 1913-1937." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B37969833.
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Villeneuve, Pat. "Contending art education paradigms and professionalization." Diss., The University of Arizona, 1992. http://hdl.handle.net/10150/185997.
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In 1982, the Getty Center for Education in the Arts, an operating entity of a private foundation, began to promote discipline-based art education (DBAE), a newly-articulated paradigm that had evolved within the art education field over the previous twenty years. The new paradigm, which advocated balanced and sequential instruction in aesthetics, criticism, art history, and studio production across the grades, contrasted sharply with traditional practice that focused on the student's innate creativity and expressiveness. A controversy ensued as the Getty Center and the National Art Education Association, the field's professional affiliation, each tried to advance a definition of art education practice. Rather than focusing on the contentious paradigms, this dissertation considers the Getty Center's activities on behalf of DBAE as an instance of professional challenge. Working from the sociological literature on professions and using a time series of selected Getty and NAEA documents published between 1985 and 1989, this study examines the dialectic between the Getty and the art education field and NAEA as each tries to garner sufficient legitimacy to establish its prescribed form of art education practice. The dissertation offers a new perspective for the art education field and refines professionalization literature by describing the process of professional challenge.
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Fleming, Margaret Jean 1954. "DISCIPLINE-BASED ART EDUCATION AS AN ALTERNATE APPROACH TO THE PROBLEMS ASSOCIATED WITH LEARNING ART HISTORY AT THE HIGH SCHOOL LEVEL." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276432.
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The definition of discipline-based art education presented in this thesis includes all domains of art learning and practice: art history, art criticism, art production, and aesthetics. The study develops a series of art history lessons for adolescents at the junior high and high school level. Activities are designed to present instructional strategies appropriate to the educational needs and concerns of these groups of students. These lessons primarily focus on art history, and art criticism as a means for approaching studio production concepts. One instructional unit includes a day-by-day description of art history learning activities covering a period of 10 days, or two regular school weeks. Also included is a description of the order in which the art history, art criticism and production activities occur for each lesson. Specifics regarding media, materials, artists to be studied, styles, reproductions and the vocabulary terms and images to be used for each day are also included. (Abstract shortened with permission of author.)
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Walters, Anne E. "Making art-the child's perspective." Thesis, Queensland University of Technology, 2001. https://eprints.qut.edu.au/36630/1/36630_Digitised%20Thesis.pdf.
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Current research into the status of art in primary school education suggests that there is overwhelming support for a more vigorous approach to the artistic and creative development of children in Australian education. A recent Australian Council Report (Costantoura, 2000) into the arts in Australia found that as many as 85% of Australian adolescents and adults felt that involvement in the arts "should be an important part of the education" (p. 86) of every child.
Despite such support however, there is a lack of emphasis on the creative arts in the curriculum of many Australian primary schools and there are few schools which would consider themselves particularly well-equipped with either the teaching or practical resources to facilitate a dynamic and progressive arts program. Art education is predominantly the responsibility of classroom teachers in primary schools in Australia and, while many teachers manage to provide their students with outstanding experiences in visual art, the priority assigned to the subject can vary according to the interests and skills of individual teachers and/ or school principals.
How then do young recipients of a visual arts education view their involvement in the subject? Is it an important part of their education and can they explain in what ways they are able to see value (or not) in further participation in artmaking? While adults present the bulk of research, discussion, planning, and evaluation on the subject of art in education, this study considers the perspectives of a group of children aged between eight and ten years from three schools, who have elaborated broadly upon their thoughts and feelings on the subject.
Although the intention of the study was to consider children's perspectives as artmakers, and the interview questions guided the information collected, pre-determined outcomes and predicted responses were not set. Collection of data was based upon (1) informal discussion and semi-structured interviews with children, (2) collection of artwork and photographic material, (3) participant observation in the classroom during art classes. Using Strauss and Corbin's (1990) approach to grounded theory, collected material was decoded and analysed, and the triangulated material was used to isolate a number of possible key issues or categories. These related to the importance of the teacher's approach to artmaking classes and the subsequent effect of this upon children's individual and general attitude to artmaking, the ramifications of using art to broaden cultural appreciation and association, and the need for increased understanding of the cognitive aspects of artmaking.
The overarching outcomes emerging from the study concentrate on the value which can be attributed to the children's perspectives. What the children had to say about artmaking requires further investigation and this study provides a glimpse into what children think about art and artmaking. The key finding, and that which has formed the basis for theory building is that the children's perspectives contain significant insight and understanding that is both important and useful to educators working with them - as well as educators and researchers investigating the value and development of art in education.
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Kitching, Dornehl. "Experiences of novice art teachers in high schools." Thesis, Cape Peninsula University of Technology, 2017. http://hdl.handle.net/20.500.11838/2515.
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Thesis (MEd)--Cape Peninsula University of Technology, 2017.The teaching profession is unique in this sense that in no other employment industry, are beginner employees straight out of university expected to do the work and hold the responsibilities equal to that of a senior or more experienced colleague. This idea is held as one of the main reasons why teachers need support in their first few years of teaching (Darling-Hammond, 2010; Le Maistre & Paré, 2010). From my own experience as well as that of the novice art teacher participants in this research, it was clear that art teachers in their first three years of teaching experience positive encounters as well as several challenges. Challenges varied from the lack of support and orientation from school management to several other factors that contributed to a demanding workload and stress. The theoretical framework that informs this research is grounded in the combination of theoretical perspectives developed by Geert Kelchtermans (1993; 1994; 1999) namely the narrative-biographical perspective and the micro-political perspective. Participants were interviewed and requested to attend a focus group session where they were asked to create a River of Life representation of their experiences since starting their art education careers. The transcripts were analysed in conjunction with the drawings to forge connections between the participants’ feedback to establish themes. The themes of this particular research relate mainly to the common experiences that the participants face as novice art teachers and the support they receive from their school management and education authorities.
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Esguerra, Mark. "An investigtion [sic] of developmentally appropriate methods in teaching drawing." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MEsguerra2007.pdf.
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Ramirez, Erika Ivana. "Engaging the public| Teaching currents in Los Angeles based art museum education." Thesis, California State University, Los Angeles, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1597688.
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This study is an overview of how museums utilize informal learning as a primary source of engagement to improve overall visitor experience while building community interest. For this study, it was important to look at the history and purpose of museums origin and the evolution of their function from an art institution to an educational institution. The top 3 Los Angeles based museums; the Los Angeles County Museum of Art, the J. Paul Getty and the Museum of Contemporary Art were all put under the various scopes to deduce if they are utilizing their education department to be the best of their ability to create meaningful experiences for their visitors. They were evaluated based on their use of technology, use of dialogue and the overall experience within the museum. Lastly, this study stresses the importance of public art to incorporate all three areas of informal learning.
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Lackey, Lara Marie. "Pedagogies of leisure : considering community recreation centres as contexts for art education and art experience." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25083.pdf.
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Carroll, Tony. "Educating the critical mind in art : practice-based research into teaching critical studies in A level art." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393251.
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I researched an area of the curriculum called 'the critical and historical study', a part of the Advanced level art syllabus in which I felt improvements could be made in my teaching. An investigation of the relationship between my teaching and students' responses was carried out as part of reviewing and improving the critical study unit of coursework. Curriculum changes made between 1997-1999, intended to provide students with different ways of making practical responses to other people's art and a range of methods for interpreting the meanings of art were studied using action research methods to capture the dynamic of changes in practice and in my thinking. Changes were also being made more broadly at a structural level through post sixteen educational policy reforms. I wanted to situate my practice in the contextual dimensions of A level art and describe my involvement in writing a new syllabus for the subject during this period of reform. I also wanted to understand better concepts of critical studies in art education historically in their policy contexts. Undertaking curriculum policy analysis helped me to make sense of the latest period of change and explore curriculum divisions within the subject such as the 'uneasy relationship' between art history and studio practice. A relationship whose unease intensified in the mid 19805 and coincided with my career entry into the teaching profession. I turned my attention to the emergence of critical studies over the last forty years, and considered how that impacted on my teaching in the last fifteen years. I traced different conceptions of critical studies to unravel the value positions of its promoters in order to understand and to locate my own position in the development of the discipline. In combination, these interests gave my research a multiple focus and required complex methodologicaJ approaches in order to make sense of critical studies in art education through my classroom practice and students' experiences, curriculum policy histories, art education literature and autobiographical life history.
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Atkinson, D. "Form and action in art education : A reflection upon theory and practice in the teaching of art." Thesis, University of Southampton, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.382177.
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Niccoli, Anthony C. "Substitute teaching in art education as perceived by teachers, substitutes and students from secondary visual art classes." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/292082.
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The purpose of this study was to examine perceptions of substitute teaching in art education held by art teachers, substitute teachers, and students in visual art classes. The study focused on the practice of substitute teaching in visual art classes at one public school district in Arizona. Six secondary schools at this district were included. Samples were comprised of art teachers, substitute teachers, and students. Participants were surveyed and interviewed to gather and identify perceptions. Results from data analysis indicate the following perceptions among study subjects: (1) The majority of art instruction is student-directed. (2) Substitutes frequently conduct studio art activities. (3) Substitute teaching does not frequently break the continuity of art lessons. (4) There is a decrease in student academic performance with substitutes. (5) Substitutes have a low level of art knowledge, which regularly affects lesson planning.
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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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Myerchin, Naomi Sue. "The value of art integration in grades four through six." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/2043.
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Research supports ideas that relate the value of arts integration to success in the elementary classroom. This thesis explores the theoretical and practical aspects of the integration of the visual arts and their value, specifically to elementary grades four through six.
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Church, Elizabeth Ann. "An autoenthnographic study of the effectiveness of teaching art appreciation through pinhole photography to home schooled students." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-08012007-234936/.
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Thesis (M.A.E.)--Georgia State University, 2007.Title from file title page. Paula Eubanks, committee chair; Akela Reason, Melody Milbrandt, committee members. Electronic text (153 p. : ill.) : digital, PDF file. Description based on contents viewed Oct. 31, 2007. Includes bibliographical references (p. 151-153).
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Woods, Joyce H. "Enlightened cherishing of art : formative influences and their relevance to British Columbia art curricula." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26942.
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The problem was three—fold: (1) to document formative influences on a population who possessed enlightened and cherishing attitudes toward art; (2) to compare their experiences with relevant aspects of Harry S. Broudy's notion of enlightened cherishing; (3) to assess what implications these findings might have for the most recent British Columbia fine arts curricula. Procedure
Fifty personal interviews were conducted with a population consisting of visual artists, art critics, art historians, art teachers, art gallery curators, aestheticians, art collectors, and an art consultant. The instrument was an open—ended question schedule which allowed for separate analysis and interpretation of experiences which were: (1) educational (formal) vs. extra-curricular (informal); (2) studio art experiences (aesthetic expression) vs. art critical/historical/aesthetic—based experiences (aesthetic impression).
From these taped interviews, thirty were chosen for transcription. The resulting data were categorized and qualitatively analyzed. Comparisons were made with prior research relating to art attitudes, with aspects of Broudy's theory and, finally, with aspects of the British Columbia fine arts curricula. Conclusions :
The research supports Broudy's recommendations for more teacher training in art, for art classes at elementary level to occur on a daily basis and for art classes to be given equal status with other subjects in schools.
The research does not support Broudy's recommendation that specific art exemplars be chosen by curriculum designers for implementation in the classroom by teachers. Instead, the research suggests that operational-definitional standards in art be suggested by curriculum designers so that teachers may make their own choices for exemplars and, when appropriate, even use exemplars from the realm of what Broudy refers to as popular art. Recommendations : Out of this study come the following recommendations for art education in British Columbia:
— that the level of training for elementary generalists be upgraded in areas of aesthetics, art history, and studio methods.
— that more art monospecialists be recruited at both elementary and secondary school levels.
— that both teacher training and art curricula include references to the significant role (in nurturing a cherishing attitude toward art) played by: a teacher's encouragement of the student's progress in art; open-ended and imaginative teaching strategies allowing for some independence for the student; sound evaluation practices; and knowledge and enthusiasm for the subject area.
— that the implementation of art curricula in schools be mandatory and that the art curricula include information on the use and choice of art exemplars (works, materials, and processes).
— that time for art (aesthetic expression and aesthetic impression) equivalent to that allotted for other subjects be provided at the elementary school level.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Eschedor, Jennifer Hope. "The Memory Collage Project: Art education with older adults." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291731.
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The Memory Collage Project was an art experience for older adults that used the natural process of life review to inspire imagery to create a visual collage. Eighteen older adults, ages 62-94, were asked to reminisce about an experience they wanted to share with others in both a visual medium and a tape-recorded story. Using copies of their own photographs, Life magazines from the 50's and 60's, maps and other materials, memory collages were created in a one-hour session. The culminating event was an art exhibition that featured the storytelling of four of the participants. Participants were interviewed about their experience, which provided data for quantitative analysis. I also obtained data from observations of videotape footage that recorded my instruction and interactions, as well as the group dynamics throughout the production and at the closing exhibition. These data were coded to develop qualitative responses to my research questions. I examined the value of the lesson plan, specific teaching strategies and how I would adjust my current elementary teaching pedagogy to encourage participation from older adults. Curriculum has not been developed for older adults in the field of Art Education. Life expectancies are increasing, so there is a greater demand for educational opportunities in our later years. This thesis describes a studio project utilizing the process of life review and examines effective instruction and teaching strategies for an older population.
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Heard, John Marlon. "My Experiences Incorporating Constructivist Teaching Strategies within an Art Education Classroom." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/14.
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A reliance on a teacher-centered model of instruction presented the foundation for my research. I chose to investigate constructivist theory and to implement constructivist teaching practices within my art education classroom to determine if constructivist teaching practices would facilitate a shift to a more student-centered learning environment, and to determine if constructivist strategies positively impact student learning. I collected my raw data using autoethnographic recording, documenting my results over a two month period in January and February of 2007 from my experiences as an art educator at a public, Metro-Atlanta elementary school. A positive impact on student learning was observed and the constructivist teaching strategies did produce student-centered learning environments. Based on my experiences constructivist teaching strategies may be beneficial to the creation of student-centered learning environments and assist in broadening student inquiry and investment with lessons.
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Chambers, Julia. "ACCOUNTING FOR ART: ANIMATION AS A TEACHING TOOL FOR ACCOUNTING PROCESSES." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1188.
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Despite technology's growing presence in society, accounting classrooms have lagged behind other disciplines in utilizing educational animations. This is primarily due to inconclusive research and institutional resistance. In this thesis, I cover existing research on the benefits of visualizations as well as the significance of educational animations. To supplement my arguments for how these studies are lacking, I have made two educational animations covering introductory concepts of financial statements and the time value of money.