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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Vroombout, Lynn. "Striking a balance between formalism and expression in visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/859.
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This creative arts project is an exploration of the benefits of an approach to visual arts education that balances the need for both formal (i.e. visual arts language, knowledge of skills, techniques and processes) and expressive content. As an artist, my tendency to focus on formal concerns can override the effective of expressive content of my artworks. I recognize the potential for my artwork to become static when the expressive elements are given insufficient consideration. Whilst acknowledging the importance of formal content an increasing awareness of the value of expression in artwork has led to a philosophical re-evaluation. This in turn has impacted upon my teaching practices as a balance between formalist and expressive approaches is pursued. This creative arts project followed an action research process where I explored ways of incorporating increasingly expressive elements in my artwork. I identified and documented evidence of change. A series of visual diaries that recorded the development of ideas accompanied the creative project, as does an exegesis. Through the research I explored whether it was possible to resolve the inherent tension between formalism and expressionism in both visual arts practice (my art work) and visual arts education (my work as an art teacher). I believe the Western Australian Curriculum Framework has sufficient scope to address the need for both formalism and expression in visual arts education. This Creative Arts Project was predicated on the belief that although The Arts Outcomes made provision for the exploration of both formal and expressive concerns, in practice the focus was on form and the production of outwardly “successful” art works. Through the research project I aimed to strike a balance where the two components of art production lent their strength to each other. This was evidenced by student achievement and increased expressive content within my own artwork.
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Kirby, Lynne M. "Puppetry in the Visual Arts Classroom." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1268103635.
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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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Nannini, Priscilla Barranqueiros Ramos. "Ilustração : passeio pela poesia visual /." São Paulo : [s.n.], 2007. http://hdl.handle.net/11449/86984.
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Orientador: Luiza Helena da Silva Christov<br>Resumo: O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.<br>Abstract: The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.<br>Mestre
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Nannini, Priscilla Barranqueiros Ramos [UNESP]. "Ilustração: passeio pela poesia visual." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86984.
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nannini_pbr_me_ia.pdf: 1239879 bytes, checksum: ff0c0d1972a04a0b1c212184513eceb1 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O objetivo da presente pesquisa é explicitar o quanto a ilustração colabora para a formação visual dos pequenos leitores e descobrir o valor estético da linguagem imagem no livro infantil. O tema é relevante tanto para a arte como também para a educação. Alguns questionamentos em minha pesquisa: Qual a relação que as crianças têm com a ilustração? Como determinada imagem pode sensibilizar o olhar infantil? A ilustração pode ampliar os horizontes da percepção? O quanto esta linguagem ajuda o leitor a fruir e conhecer as linguagens visuais? Após o levantamento bibliográfico especializado, elenco como alguns autores visualizam a ilustração e qual a sua importância ao longo do tempo, situando-se historicamente e culturalmente, no Brasil e no mundo. Descrevo como ela aparece nos livros ilustrados, e o diálogo que tem como o texto verbal. A partir do discurso desses autores, procuro embasar hipótese de que a ilustração desempenha um papel importante no aprendizado e na formação de fruidores da linguagem visual. Rui de Oliveira e Donis A. Dondis defendem a idéia de educar e sensibilizar o olhar das crianças, e por isso são usados como referência teórica. Com base no conceito de Vygostky sobre criatividade, justifico a relevância dessa pesquisa e formulo uma possível abordagem teórica para investigar a relação que ocorre na leitura das ilustração pela criança e seu aprendizado e a facilidade para ler/ entender outras imagens da sua realidade. Para entender as ilustrações, é preciso observar suas especificidades. Em aspectos formais destaco como é desenvolvida, suas pricipais características e técnicas usadas. Como fundamento temos Arnheim, Luis Camargo e Faria, que dão amplos conceitos para a análise e compreensão de aspectos formais de imagens e da ilustração, especificamente. Na sequência, busco a visão de pessoas que de alguma maneira estão ligadas às ilustrações do livro de literatura infantil.<br>The focus of the research is to turn clear how importat the ilustration is to collaborate with the formation of the small readers and the image language aesthetic value in the child book. The topic is relevant to the art as well as it is to education. Some questions in my research: What relationship do children have to such illustration? How persuasive an image is to catch the eyes of a child? Is the illustration able to broaden the horizons of their perception? How much does this language can help the reader to enjoy and know the visul language? After a apecialized bibliographical survey, the cast of some authors visualized the illustration as well as its importance through years placing it, historically and culturally in Brazil and allover the world. I describe how it's shown in the ilustrated books, and the dialogue it has with the verbal texts. From the speech of these authors, I intend to establish my hypothesis that the illustration develops an important role in the learning and formation of the possessors of the visual language. Rui de Oliveira and Doins sustain the idea of educating and turning sensible the eyes of the children, and because of this, they are known as theoretical references. On base of Vygostky's conception about creativity, I focus the relevance of this research and formulate a possible theoretical approch to investigate the relation which happens among the reading ofthe illustration by the children and their learning and the facility to read and understand other images of their reality. To understand the illustration, it is necessary to observe specificity. In formal aspects, I highlight their main characteristics and the use of technical role models. We have Arnhhein, Luis Camargo and Faria which give wide specifically conceptions to the analysis and comprehension of formal aspects of the image and illustration.
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Leaman, Bethany Marie. "Visual purple: A context for cultural understanding through the visual arts." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.
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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, she contends that this understanding manifests as a set of aesthetic principles, the knowledge of core cultural symbols, and shared interpersonal behaviors based on cooperation, watching, and learning. The data suggests that the rich symbolism of Yaqui culture aesthetically socializes the children giving them an eye for detail and the ability to pick up and readily relay visual concepts.
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Butler, Stephanie T. "Is Quantitative Data-Driven instruction appropriate in visual arts education?" Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1587885.
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<p>The use of quantitative data-driven instruction and assessment in the visual arts curriculum could impact the outcome of student creativity if employed within the visual arts, a content area that uses primarily qualitative pedagogy and assessment. In this paper I examine the effect upon measured creativity resulting from the use of Quantitative Data-Driven Assessment compared to the use of Authentic Assessment in the Visual Arts curriculum.
This initial experimental research exposed eighth grade Visual Arts students to Authentic Assessment in one group, and Quantitative Data-Driven Assessment in another. Two experiments were conducted from the results. In the first experiment, both groups of student post-test art works are compared for mean creativity scores as defined by an independent expert panel of Art Educators. The second experiment compares for gains in pre-test/post-test creativity as the teacher assessed. Gains in mean creativity scores are compared between groups. Difference in assessment motivations are discussed as possible influencing factors.
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Oliveira, Jociele Lamper de. "Arte contemporânea, cultura visual e formação docente." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-19112010-092340/.
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Esta pesquisa foi desenvolvida no Programa de Pós-Graduação em Artes Visuais, na Área de Concentração Teoria, Ensino e Aprendizagem da Arte, na Linha de Pesquisa Fundamentos do Ensino e Aprendizagem da Arte, da Escola de Comunicações e Artes da Universidade de São Paulo. Objetivou investigar aspectos que decorrem das inter-relações entre Artes Visuais, cultura visual e formação docente, que compreendem a prática educativa e a prática artística. A partir destes pontos de tensões, aponta-se a imagem da moda em confluência com o ensino de arte na prática do estágio curricular supervisionado, podendo sugerir e impulsionar formas de ensino e aprendizagem autônomas e colaborativas na formação do artista/professor/pesquisador em Artes Visuais. Aborda-se uma reflexão teórica voltada para a cultura visual, bem como para as derivações sobre arte relacional e processo criativo. Desta forma a pesquisa pautou-se sobre alguns aspectos reflexivos da artografia, bem como sobre da arte relacional, entendendo um conjunto de práticas artísticas que tomam como ponto de partida (teórico e prático) as relações humanas e seu contexto social.<br>This research was developed in the Graduation Program in Visual Arts of the Arts and Communication School of the University of Sao Paulo, concentration area of Art Theory, Teaching and Learning, and research interest The Fundamentals of Art Teaching and Learning. It aimed to investigate the aspects that elapse from the interrelations among Visual Arts, Visual Culture and Faculty Formation, which comprehend the educational and artistic practice. From these tension points, it aims the fashion image in confluence with the art teaching in the practice of the supervised internship, being able to suggest and instigate collaborative and autonomous ways of teaching and learning in the formation of the artist/teacher/researcher in the Visual Arts. It approaches a theoretical reflection about the visual culture, as well as the derivations of the relational art and the creative process. Thus, this research was based on some reflexive aspects of the artography and the relational art, comprehending a group of artistic practices that take as initial point (theoretical and practical) the human relations and their social context.
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Zervos, Cassandra. "The effect of cross-linked learning on visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/774.
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This study examined how computer technology had an effect on a Year 9 visual arts education class with regard to the Western Australian four Arts Learning Outcomes (WA 4ALO). The research was administered concurrently with a learning approach called Cross-Linked Leaming (CLL) (Zervos, 1997), which consisted of three components: (1) the subject (e.g., visual arts education in relation to the WA 4ALO); (2) the learner (i.e., a target group and how they learn); and (3) the tool (e.g., computer technology). This study addressed the problem of how to promote learning in visual arts education, especially with visual arts theory. Historically, students have preferred to make art than to study art theory subjects such as art history and art criticism/response. Furthermore, many students may have found, traditional ways of learning theory to be less engaging and stimulating than making art. For this study, a sample consisted of 19 female students from an independent secondary school in Perth for one school term. The students were divided into three groups for the three data collections methods: (l) the whole class completed pre and post-questionnaires; (2) five pairs of students participated in pre- and post-interviews; and, (3) nine students' art portfolios representative of different levels, of achievement, that were analysed at the end of the school term. The methodology was action research. Data was collected and interpreted to answer the primary research question through four sub-questions as follows: (1.0) What was the effect of CLL on students; (1.1) What were students' attitudes towards CLL; (1.2) What skills did students require for CLL; (1.3) What knowledge did students exercise with CLL; and (1.4) What were students' preferences for !earning with CLL?" The results showed that the three components of CLL had a predominately positive effect upon most students in terms of their attitudes, skills, knowledge, and preferences. Furthermore, the students showed a first preference for learning visual arts theory in a CLL framework reflecting a social constructivist and student-centered way of learning that included using, computers 75% of the-•time for visual arts theory instruction. This thesis demonstrates that CLL is an effective framework for the Year 9 visual arts students who participated in this study.
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McGann, Debra. "NAEP-Related Visual Arts Assessment in Classroom Applications." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5988.
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This action research study investigates classroom visual art assessments and their potential to improve teacher instruction and student learning. In order to examine this topic more thoroughly, a National Assessment of Educational Progress (NAEP)-related classroom assessment was designed and administered to the researcher's Drawing and AP Art History classes. Students were also asked to fill out a questionnaire that asked about their past art experiences and motivation to participate in art activities such as creating art work outside of the school setting or attending an art museum. Students observed, described, and analyzed contemporary artwork, and they created and wrote about their own original works of art. The use of contemporary art exemplars led to some of the most interesting findings; namely, that students felt free to create their artwork in a contemporary style that was less about technical elements and more about the meaning they wished to convey.
In general, the AP Art History students' written contemporary art criticism scores were significantly higher than the scores of both of the studio drawing classes. Artwork scores of AP Art History, Drawing I, and Drawing II students showed no significant difference. Interestingly, all three groups indicated they were highly motivated to look at works of art, create art in school, and make artwork outside of the school setting. Also noteworthy was the relatively high number of students who indicated that the contemporary artwork they analyzed influenced the mother and child artwork they created. It could be surmised by this study that a NAEP-related assessment is a beneficial method for improving teacher instruction and student learning in visual arts education.<br>Ed.D.<br>Doctorate<br>Dean's Office, Education<br>Education and Human Performance<br>Education
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Carpenter, Leah Marie. "Therapeutic Art Practices and the Impact on the Middle School Visual Arts Classroom." Thesis, Corcoran College of Art + Design, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556179.
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<p> This study takes place in a Mid-Atlantic public charter school over the course of a semester with eight seventh- and eighth-grade students in a visual art painting class. The author aimed to discover whether the integration of art therapy techniques within her curriculum might increase the self-efficacy students felt towards art-making. The study employed the ethnographic method of action research to allow the researcher to implement the study within regular classroom instruction and routine. This method also allowed more in-depth and cross-sectional analysis by the researcher due to regular exposure and established relationships with the subjects. Four exercises, modeled after commonly-used art therapy exercises, were inserted into the beginning of classroom instruction along with immediate individual reflection. Along with the student artwork, four other bodies of data were analyzed including: field observations, one-on-one interviews, written responses and an initial benchmark survey. Thematic analysis allowed the researcher to identify themes that would gauge levels of student engagement, compare content of the work and recognize student affect. Results from analysis confirmed the hypothesis as evidence revealed an increase in self-efficacious behaviors and attitudes towards art-making for students. This study confirmed adolescent artistic developmental stages as well as developmental tendencies towards gaining and displaying control. These findings correspond to the need for differentiated teaching to adolescent students and the importance of educator awareness and consideration of developmental needs. This study also highlights the possibility of enhancing the student experience when the practice of art education and techniques of art therapy are carefully and intentionally combined. It provides a model of an empathetic approach to curriculum for the purpose of providing a holistic art education. </p>
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Le, Kim. "Cultural hybridity and visual practice: Towards a transformative-repair multicultural pedagogy for visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2004. https://ro.ecu.edu.au/theses/790.
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This research project examines how transitional multiculturalism, cultural hybridity and transformative-repair are practiced by a professional artist-researcher and novice artists. Transitional multiculturalism and cultural hybridity are examined through a series of artworks by a Vietnamese-born artist-researcher. This series of artwork, which reflects 35 years of creating art in both Vietnamese and Australia, demonstrate a personal engagement with issues of cultural diversity, upbringing, and related aesthetic studies. The intention of this exhibition is to chart the characteristics of the artist's expression, which is culturally hybridised. This part of the study aims to identify those artistic conventions associated with specific visual traditions that have been incorporated into the artist-researcher's paintings. The main influences identified originate from both Eastern arts traditions (Viet nam, Japan and China) and Western visual arts traditions. This study also aims to identify how to use artistic conventions associated with the expression of one's culture und ancestry, which may continue to improving one's knowledge in different traditions and history across diverse aesthetic systems of hybridity. Information and understandings gained from the first part of this research will provide insigns, which will have relevance to secondary school visual arts learning areas. The transformative-repair model of multiculturalism is examined through a visual arts project conducted by secondary school students. More specifically this part of the study aims to identify principles, approaches and content for transformative repair, experiences of two students of culturally diverse hack grounds (African and Vietnamese) who are currently engaged in this culturally diverse Australian society.
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Kuzminsky, Tracy V. "Interactive Whiteboard Technology within the Kindergarten Visual Arts Classroom." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/21.
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The purpose of this document is to design and record a Kindergarten visual arts unit using the Activboard to determine how student achievement, motivation, and interest are impacted. Methods of data collection include both observational recording and student interviews. The Activboard facilitates a highly interactive study of the art curriculum and data collected throughout the unit indicates a positive impact on student achievement, motivation, and interest.
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Witczak, Christina. "Homeschool Parent Survey of Visual and Performing Arts Activities, Instruction and Methodologies in California." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10638087.
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<p> This was a quantitative, non-experimental, cross-sectional research study that surveyed California homeschooling parents with children in grades K-6 during the 2016–17 academic year. The purpose was to discover the methodologies and activities California homeschooled K-6th grade students received and experienced in the four arts disciplines: music, dance, theater and fine art. The data was collected through an online survey and a random representation of the research participants. The data collected included collecting specific information regarding arts activities and lessons, the approximated time and hours of instruction, and the locations or places where the lessons and activities were conducted. There were a total of 178 responses collected from the research participants. The overall participation rates within the four arts disciplines for this sample population of California homeschooling students in grades K-6 during the 2016–17 year in music was 80.34%, dance was 48.32%, theater was 52.81% and visual arts was 94.39%. The specific activities, lessons, time and locations were analyzed and discussed. This research concluded that the sample population participates in visual arts activities and lessons mainly in the home, and music, dance, and theater activities and lessons are experienced at private studios or theaters. It was additionally noted that just over 11% of the California homeschooling parents participating referenced the VAPA standards.</p><p>
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Mohd, Radzi Fatin Aliana. "Inquiry-based Visual Arts Approach: A Self Study." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1529623380341233.
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Knoblock, Stacey Lee 1969. "The visual arts in Reform Jewish supplemental education: Art education beliefs and practices in context." Thesis, The University of Arizona, 1995. http://hdl.handle.net/10150/291961.
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This thesis examines the context, content and pedagogy of visual art education in the Reform Jewish supplemental religious school. The study was guided by three major research questions: (1) What beliefs about art education are held by Reform Jewish educators? (2) What is the form and content of existing art education practices in the supplemental religious school setting? (3) What do these Reform Jewish educators perceive as necessary for the enhancement of the art education component of their curriculum? A study of a Reform Jewish supplemental school was conducted by myself as a teacher/researcher. Also, a sample of professional Reform Jewish educators was surveyed to determine art education beliefs and practices in the supplemental religious school setting. Survey results suggest a discrepancy between survey participants beliefs and practices in art education and those advocated by art educators. Contextual factors common to these settings are found to hinder possibilities for comprehensive visual arts education in the supplemental religious school. The study asserts that Jewish art education curricula must be developed from a discipline-based art education perspective in order to use instructional time most effectively.
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Zimmerman, Jan Elfline Amster Susan Frederica. "An analysis of university-level general education courses in the visual arts." Normal, Ill. Illinois State University, 1992. http://wwwlib.umi.com/cr/ilstu/fullcit?p9227180.
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Thesis (Ed. D.)--Illinois State University, 1992.<br>Title from title page screen, viewed January 19, 2006. Dissertation Committee: Susan F. Amster (chair), Edward R. Hines, Jack A. Hobbs, Ronald J. Mottram. Includes bibliographical references (leaves 139-148) and abstract. Also available in print.
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Johnson, Walter Taylor. "Shaping better physicians? the role of the visual arts in medical education /." Connect to Electronic Thesis (CONTENTdm), 2010. http://worldcat.org/oclc/650503265/viewonline.
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Beeshligaiiyitsidi, Roberto Randall 1943. "IMPROVING VISUAL ARTS PROGRAMS FOR NAVAJO STUDENTS THROUGH DISCIPLINE-BASED ART EDUCATION." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/276522.
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This thesis will promote an understanding of discipline-based art education in conjunction with some methods of Navajo culture for the purpose of teaching the visual arts. How the Navajo child responds to natural objects, and to those objects of the Southwest he or she identifies as works of art, is shaped by the culture of the Navajo child. The methods that the Native American teacher has already attained of the Navajo culture would exercise discipline-based art education and could provide a much-needed vehicle by which to converge the theoretical bases of the profession.
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Severo, Márjorie Garrido. "O fio da trama: arte no currículo sergipano." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/11844.
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Previous issue date: 2008<br>Este trabalho tece considerações sobre como aconteceram as propostas de Arte no currículo da Rede Municipal de Ensino de Aracaju em Sergipe, principalmente entre os anos de 2003 a 2007. Nesta dissertação a metáfora da rede foi utilizada, já que a perspectiva deste trabalho é entender o currículo como uma experiência tecida coletivamente enredada por muitos fios e nós. A metodologia teve referencial epistemológico na Hermenêutica de Paul Ricoeur, a tentativa de promover a interpretação dos textos e discursos na pesquisa fez parte da tessitura, os instrumentos utilizados nesta pesquisa qualitativa foram: observação, entrevistas semi-estruturadas, questionários e bricolagens realizadas com o grupo de professores de Arte da Rede Municipal de Aracaju. Visitas à escolas da Rede e o contato com coordenadores e professores externos também fizeram parte da abordagem. Os tópicos que fazem parte desta dissertação percorrem desde as Concepções de Currículo; Currículo na Pós-Modernidade; O Ensino de Arte no Currículo Escolar; A formação dos Arte/Educadores em Aracaju até considerar a Trama - Arte na Rede, pela Rede e para a Rede Municipal de Aracaju. Todos estes tópicos produzem fios que se entrelaçam no tecido/tecitura/texto desenvolvido. A análise possibilitou perceber a complexidade presente nas relações de produção do currículo. Como resultado foi gerado um esboço de um sistema dinâmico de unidades que perfazem a Arte no currículo e a partir dele foi esboçada ainda uma rede de evidências da Arte no currículo escolar. Pode-se considerar que situar o indivíduo no presente como nódulo numa rede de interações e possibilidades tem relevância para, a partir dessa perspectiva, rever as propostas curriculares em Arte.<br>Salvador
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Olson, Audrey Janet. "What does a visual arts' curriculum look like after it meets poststructuralism? /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487942476404922.
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Duncan, Margot. "Visual arts, technology and education : how can teaching and learning in high school visual arts classrooms be enriched by the use of computer technology?" Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/36494/1/Duncan_36494.pdf.
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Whilst a variety of studies has appeared over the last decade addressing the gap between the potential promised by computers and the reality experienced in the classroom by teachers and students, few have specifically addressed the situation as it pertains to the visual arts classroom. The aim of this study was to explore the reality of the classroom use of computers for three visual arts highschool teachers and determine how computer technology might enrich visual arts teaching and learning. An action research approach was employed to enable the researcher to understand the situation from the teachers' points of view while contributing to their professional practice. The wider social context surrounding this study is characterised by an increase in visual communications brought about by rapid advances in computer technology. The powerful combination of visual imagery and computer technology is illustrated by continuing developments in the print, film and television industries. In particular, the recent growth of interactive multimedia epitomises this combination and is significant to this study as it represents a new form of publishing of great interest to educators and artists alike. In this social context, visual arts education has a significant role to play. By cultivating a critical awareness of the implications of technology use and promoting a creative approach to the application of computer technology within the visual arts, visual arts education is in a position to provide an essential service to students who will leave high school to participate in a visual information age as both consumers and producers.
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Correia, Eliezer David Marques. "Relatório da prática de ensino supervisionada realizado no agrupamento de escolas nº e de Évora na escola básica integrada André de Resende e na escola Secundária Gabriel Pereira." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/19398.
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O presente relatório elaborado no âmbito da disciplina da Prática de Ensino Supervisionada, do Mestrado em Ensino de Artes Visuais no 3° Ciclo do Ensino Básico e Secundário, é referente à Prática de Ensino Supervisionada no primeiro e segundos semestres do ano lectivo 2009/201O. Prática que se desenvolveu na Escola Básica Integrada André de Resende com a orientadora cooperante Professora Maria João Machado, e na Escola Secundária Gabriel Pereira com a orientadora cooperante professora Luísa Gancho. Ambas as acções foram supervisionadas sob a orientação do Professor Doutor Leonardo Charréu. Para além dos Professores Orientadores, o presente núcleo n°2 constituiu-se pelos mestrandos, Eliezer Correia e Cátia Casquinha. O relatório da disciplina da Prática de Ensino Supervisionada divide-se em duas secções. A primeira secção que resulta da reflexão do que foi executado no primeiro semestre na Escola Básica Integrada André de Resende, e a segunda secção que corresponde ao segundo semestre na Escola Secundária Gabriel Pereira, ambas localizadas na cidade de Évora. ABSTRACT: The present report was realized to cover the activities developed in the curricular unit Supervised Teaching Practice ("Prática de Ensino Supervisionada"), of the Master in Visual Arts Teaching, in the 3rd Cycle of Basic and Secondary Education. lt is relative to the “Prática de Ensino Supervisionada” developed in the two semesters of the academic year 2009/201O held at the "Escola Básica Integrada André de Resende", cooperating with the advisor local teacher Maria João Machado, and at the "Escola Secundária Gabriel Pereira", with the advisor local teacher Luísa Gancho. 8oth actions were supervised under the guidance and scientific supervision of Professor Leonardo Charréu. Beyond these advisor teachers, the group N°2 was formed by the master students, Eliezer Correia and Cátia Casquinha. The report of the discipline of "Prática de Ensino Supervisionada" is divided into two sections. The first section that results from the reflection of the activity executed in the first semester at the "Escola Básica Integrada André de Resende", and the second section correspond to the second semester at the "Escola Secundária Gabriel Pereira”, both located in the city of Évora.
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Shipe, Rebecca L. "Creating productive ambiguity| A visual research narrative." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700162.
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<p> The purpose of this dissertation was to examine how I can facilitate experiences with art that promote "productive ambiguity," or the ability to transform tensions that disrupt our current understandings into opportunities for personal growth. Ambiguity becomes productive when our encounters with difference stimulate curiosity, imagination, and consideration of new possibilities and perspectives. While employing a multi-methods practitioner inquiry that combined elements of action research, autoethnography and arts based research, I addressed the following questions with a voluntary group of fifth grade research participants: How can I facilitate experiences with art that promote productive ambiguity? How do my students interact with the various visual content and instructional strategies that I develop and implement? How might these interactions inform my future teaching practice, and how does my own reflective visual journaling process inform my research? In addition to employing reflective sketching to document and analyze data, I also presented research findings in the form of a visual research narrative. </p><p> My analysis of research findings produced the following teaching strategies for facilitating meaningful experiences with art that promote productive ambiguity: (a) Use an inquiry approach to instruction as much as possible in order to position students to actively navigate the space between the known and unknown while seeking fresh understandings rather than passively accepting new information. (b) Explore how new concepts or themes relate to students' lives in order to situate unknowns in relation to their present knowns. (c) Aim to balance structure, flexibility and accountability while developing and implementing curricula. This promotes productive ambiguity as both teachers and students negotiate their pre-conceived ideas or plans and push themselves to respond to challenges encountered within their immediate environment. (d) In order to avoid unnecessary confusion, explicitly state that students should takes risks while generating new ideas rather than identifying a pre-existing solution. (e) Finally, ask students to identify why skills and knowledge generated during these activities are valuable in order to promote meta-cognition of how this ambiguous space can become more productive. </p><p> In addition to these practical findings, research participants agreed that sharing their interpretations of visual phenomena with one another enabled them to understand each other better. I also discovered the ways in which productive ambiguity emerged in the spaces in between my teacher/researcher/artist roles when I perceived challenges as prospects for personal transformation. As a whole, this dissertation exhibited how relational aesthetics and arts based research theories translated into my elementary art classroom practice while simultaneously integrating these concepts into the research study design and presentation.</p>
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Zelonish, Holly Anne. "The Effects of Assessment and Grading on Students' Attitudes Towards and Participation in the Visual Arts." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1302134904.
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Kok, Chung Oi. "The rationale for visual arts education in Singapore : analysis of policies and opinions." Thesis, Durham University, 2011. http://etheses.dur.ac.uk/845/.
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This thesis focuses on the rationale for visual arts education in the context of Singapore. It does so by examining key policy documents and interviewing key stakeholders. In the mid 1960s, Singapore was separated from the Federal of Malaya, leaving the country in uncertainty because of the lack of natural resources. Also the withdrawal of the British colony had left the Singapore economy in turmoil. The only pragmatic solution for the government was to resort to human capital to develop the economy, which mainly centred on promoting science, engineering, commerce and technology learning. Mathematics and science were given the highest priority as these subjects offered skills that were desirable for the economy. In the 1990s, the government realised that for the Singapore economy to continue to grow steadily, foreign talent would play a crucial role. One way to attract these talents was to develop Singapore into a vibrant arts and cultural scene. The government began to pay attention to arts education as it was felt that the arts could offer skills for potential cultural manpower to contribute in the cultural industry for the purpose of enticing talents to work, live and contribute to the Singapore economy. There has therefore been a shift in attitudes to the arts. The conflicting interests motivated me to seek to establish the rationale for visual arts education in Singapore. The research was carried out using two research methods: documentary analysis to examine key documents pertaining to the Ministry of Education (MOE) arts syllabuses and Ministry of Information, Communications and the Arts (MICA) reports and qualitative interviews to seek the views of the art teachers, arts scholars/academics and policy makers. The research findings show that the rationale for visual arts education is related to three broad areas: (i) the development of personal developmental skills (ii) the development of ‘extended logic’, ‘self-confidence’ and ‘art history’ (iii) the contribution to the cultural and creative economy. These three areas at first appear to be in conflict but are in fact inter-connected. The thesis makes recommendations for the coherent presentation of arts policy in Singapore.
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Draving, Marilyn Joelle 1953. "Art and the blind: Clay media and artistic expression of the young child with significant visual impairments." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291544.
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In view of current research in mental imagery and creativity, the researcher suggests that a program of art activities with clay media is advantageous for young blind children. The literature reviewed suggests the value of the young blind childs work in clay. This study discusses learning process of the blind, mental imagery and therapeutic art education. It attempts to answer three questions. The study asks how these children learn; what methods might be appropriate for art instruction, and looks for indications of the growth of imagery and creativity. The methods and activities designed and implemented are discussed in this study. Selected clay work by children are shown in photographs. The results seemed to indicate that the these activities were beneficial for young children with significant visual impairments. Recommendations are made for further study.
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Oliveira, Jociele Lampert de. "INTERFACE ARTE-MODA: TECENDO UM OLHAR CRÍTICO-ESTÉTICO DO PROFESSOR DE ARTES VISUAIS." Universidade Federal de Santa Maria, 2005. http://repositorio.ufsm.br/handle/1/6796.
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This research was developed in Arts and Education Line/PPGE. Its purpose was to investigate aspects concerned to fashion-art interface discussion and its implications to build a nowadays visual arts teacher critical-esthetical view. The research subjects were four teachers to be from Visual Arts UFSM Graduation Course. By working this issue with teachers to be we longed for the possibility of thinking about conceptual changes in the way of boarding the theme. Fashion was considered as possibility generating element; and starting by that dialogue fashionart artistic interface can be considered as a common (or different) elements kit between these two knowledge areas. From that tension point between fashion and art we opted for an education theoretic reflection abroad to an art critical comprehension, based on Franz (2003) and Hernández (2002) conceptions, witch grants fashion as an articulator element to visual culture. The employed methodology was based on a qualitative abroad, assisted by participant observation, field diary and documental analysis. Through the investigation results we could attest how those teachers composed their view from practical experiences and conceptual questions about images witch relate fashion-art as well as the critical comprehension related to their own quotidian perception.<br>Esta pesquisa foi desenvolvida na Linha de Educação e Artes/PPGE. Objetivou investigar aspectos referentes à discussão da interface arte-moda e suas implicações, para a construção de um olhar crítico-estético do professor de Artes Visuais na contemporaneidade. Os sujeitos da pesquisa foram quatro professores em formação inicial do Curso de Licenciatura em Artes Visuais da UFSM. Ao trabalhar esta temática com professores em formação inicial, buscou-se a possibilidade de pensar em mudanças conceituais na forma de articular o conteúdo. A moda foi considerada como elemento gerador desta possibilidade e partindo deste diálogo, a interface artística arte-moda pode ser considerada como um conjunto de elementos comuns (ou díspares), entre as duas áreas de conhecimento. A partir destes pontos de tensões entre a arte e a moda, abordou-se uma reflexão teórica da educação para a compreensão crítica da arte, baseada nas concepções de Franz (2003) e Hernández (2002), no que confere a moda como elemento articulador na cultura visual. A metodologia empregada baseou-se em uma abordagem qualitativa, subsidiada por observação participante, diário de campo e análise documental. Com os resultados da investigação se pôde averiguar como o professor teceu seu olhar a partir de vivências práticas e questionamentos conceituais sobre as imagens que relacionam arte-moda, bem como, a compreensão crítica acerca da percepção do seu próprio cotidiano.
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Westraadt, Georina. "The potential for facilitating a rich variety of learning opportunities through the learning area arts and culture (visual arts)." Thesis, [S.l. : s.n.], 2007. http://dk.cput.ac.za/cgi/viewcontent.cgi?article=1032&context=td_cput&preview_mode=1&z=1243931944.
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Richetti, Bethany A. Richetti. "Learning to Re-present: Realism & Education in Literature and Visual Arts, 1800-1880." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503067718362243.
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Whelan, Jane. "Teaching visual arts through distance education : an evaluation of the program Anyone can draw." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/908.
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The problem under investigation is concerned with the teaching of drawing through distance education. Traditionally drawing has occupied a central position in visual art teaching and learning and is still regarded as a significant area of visual arts education. In the visual arts curriculum of Western Australia, drawing, which is included in the broader term visual inquiry, is regarded as the foundation for studio practice. It is therefore appropriate to include drawing as part of every visual arts teaching program. The correspondence mode of teaching, which has a text-base, is a more formal style of teaching art than the responsive teaching that normally occurs in an art class. Through distance education it is difficult to encourage drawing skills either through remediation or extension without creating a burden of extra work for the students. This is due to the design of the course booklets in projects which schedule the drawing lesson as one of many the student is required to complete in a semester. The projects culminate in a final studio product, thus emphasising that drawing remains a step towards the product.
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Airulla, Barbara. "The benefits of Arts Education: an investigation of causality and individual perceptions." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1085587568.
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Brown, Diana J. "Teachers' implicit theories of expression in visual arts education: A study of Western Australian teachers." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/52.
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This study examines the differences in the beliefs of primary (elementary) class teachers about the role of expression in visual arts education. The focus is on the relationship between primary teachers implicit theories, and expression in their visual arts lessons. Expression here, refers to the manifestation of an individual students interests or views through visual images. Students' expression of their personal responses through visual images, is a central intended outcome of the visual arts curriculum in Western Australia (Curriculum Council, 1998).
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BROWN, Diana, and dianab@student ecu edu au. "Teachers implicit theories of expression in visual arts education: A study of Western Australian teachers." Edith Cowan University. Education And Arts: School Of Education, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0014.html.
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This study examines the differences in the beliefs of primary (elementary) class teachers about the role of expression in visual arts education. The focus is on the relationship between primary teachers implicit theories, and expression in their visual arts lessons. Expression here, refers to the manifestation of an individual students interests or views through visual images. Students' expression of their personal responses through visual images, is a central intended outcome of the visual arts curriculum in Western Australia (Curriculum Council, 1998).
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Grove, Bryan A. "Assessing student achievement in the visual arts : collaborative inquiry as a model for professional development /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487941504295237.
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Nieuwoudt, Leanri. "An investigation of critical citizenship education : exploring art making processes in the South African context." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86214.
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Thesis (MA(VA))--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: The notion of critical citizenship has become a diverse phenomenon in both South African and global contemporary societies. The purpose of this study is to investigate how the teaching and learning of critical citizenship can be improved in the South African context through participation in art-making processes. This was done by following a qualitative approach and a case study design. The following themes were explored in this study: conceptual abilities; the technicalities of practice; art and emotional development; and collaborative art making.
The findings in this investigation showed that involvement in art-making processes certainly contributes to the development of a learner’s ability to become more intelligent, self initiated and critical thinkers. The investigation also shows that the visual arts learning area is recognized as an educational practice that encourages critical thinking and the ability to conceptualize, but the implementation of critical citizenship in both the practical and theoretical teaching of art-making processes is currently lacking. It is suggested that a holistic understanding of both practical and theoretical components in the grade 9 visual arts learning area should be maintained on an equal footing. The emotional development of learners is also identified as a source of concern, since it influences a learner’s adherence to participation with others. It is further suggested that collaborative art making urges learners to engage with the ideas of others in the classroom and therefore can encourage tolerance towards other members of the group. Critical citizenship education in the teaching and learning of the visual arts learning area can have more robust impact on the future of a democratic society if it is implemented more directly in the classroom environment.<br>AFRIKAANSE OPSOMMING: Die idee van kritiese burgerskap het ‘n diverse verskynsel in beide die Suid-Afrikaanse en globale eietydse samelewings geword. Die doel van hierdie studie is om te ondersoek hoe die onderrig en aanleer van kritiese burgerskap in die Suid-Afrikaanse konteks verbeter kan word deur deelname aan kunsskeppende prosesse. Dit is gedoen deur gebruik te maak van ‘n kwalitatiewe benadering en ‘n gevallestudie-ontwerp. Die volgende temas is in hierdie studie ondersoek: konseptuele vermoëns; die tegniese aspekte van kunspraktyk; kuns en emosionele ontwikkeling; en gesamentlike kunsskepping.
Die studie se bevindinge het gewys dat betrokkenheid in kunsskeppende prosesse bydra tot die ontwikkeling van ‘n leerder se vermoë om ‘n meer intelligente, self-geïnisieerde en kritiese denker te word. Die ondersoek het ook gewys dat die visuele kuns leerarea erken word as ‘n opvoedkundige praktyk wat kritiese denke en die vermoë om te konseptualiseer aanmoedig, maar dat die implementering van kritiese burgerskap in beide die praktiese en teoretiese onderrig van kunsskeppende prosesse tans gebrekkig is. Daar word aanbeveel dat ‘n holistiese begrip van beide die praktiese en teoretiese komponente in die Graad 9 visuele kuns leerarea op ‘n gelyke grondslag gehandhaaf word. Die emosionele ontwikkeling van leerders is ook geïdentifiseer as ‘n bron van kommer, aangesien dit ‘n leerder se samewerking met ander beïnvloed. Daar word verder daarop gewys dat gesamentlike kunsskepping leerders kan aanspoor om met ander persone se idees in aanraking te kom, en sodoende verdraagsaamheid teenoor ander lede van die groep te bevorder. Kritiese burgerskap opvoeding in die onderrig en aanleer van die visuele kuns leerarea kan meer robuuste gevolge vir die toekoms van ‘n demokratiese samelewing inhou indien dit meer direk in die klaskamer aangewend word.
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Griebling, Susan Joan Ubbing. "Designs for Making a Tree: An Ethnographic Study of Young Children's Work in the Visual Arts." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1241802700.
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Scarparolo, Gemma E. "Character cars : How computer technology enhances learning in terms of arts ideas and arts skills and proceses in a year 7 male visual arts education program." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/662.
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'The possibilities that the technology can offer are seemingly endless and remain to be fully explored in [visual] art education." (Callow. 2001. p,43) The aim of this research is to investigate whether the integration of Visual Arts Technology Tools (TECH-TOOLS) into Traditional Visual Arts Programs (TRAD-['ROG) enhance the students' learning in terms of Arts Ideas (AI) and Arts Skills and Processes (ASP) and whether it is a cost effective option for Western Australian primary schools. To determine whether it is worth the inclusion of TECH-TOOLS in terms of enhancing learning. this research will statistically state whether the combination of TECH-TOOLS and Traditional Visual Arts Media (TRAD-MEDIA) enhance the expressive outcomes of Year Seven boys' artwork. The comparative case study method has been chosen as the most suitable method to enable the Researcher to establish the impact that combining TECH-TOOLS with TRAD-MEDIA have upon Year Seven boys' artwork. The Control group only used TRAD-MEDIA and the Experimental group used both TRAD-MEDIA and TECH-TOOLS to create a piece of artwork based on the chosen theme, Character Cars. There were 23 students in the Control group and 24 students in the Experimental group, however not all students attempted or completed the task for reasons which will be explained in Chapter Four. Each group was involved in three sequenced activities based on the chosen theme, with the second activity varying only according to the media used to complete the task. Combinations of quantitative and qualitative methods have been used in this research. To present quantitative data which provides insights into whether Visual Arts (VA) teachers should be combining TECH-TOOLS with TRAD-MEDIA in their Visual Arts Programs (VAP), each piece of artwork was assessed and analysed using descriptive analysis of the data. Each participant completed a written feedback form outlining their attitudes, feelings and thoughts about their artwork and the media that they used. The Researcher and an independent Visual Arts Education (V AE) expert also took anecdotal records during the VA activities with the aim of recording the participants' involvement and enjoyment of the activities. This study is significantly different from the current research in this area u!; it will: provide quantitative data which will demonstrate Whether the combination of TECH-TOOLS and TRAD-MEDlA enhances students' artwork; link the relevant literature and findings of this study to the Western Australian primary school context; provide links to the Western Australian Curriculum Council's Curriculum Framework; and comment on the influence of gender in VAE. All of these factors contribute to the uniqueness of this study.
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David, Gigi M. "Assessing the Impact of a Visual Arts Family-Focused Pre-Kindergarten Intervention." UNF Digital Commons, 2006. https://digitalcommons.unf.edu/etd/180.
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This study examined the effect of a visual arts, family-focused school readiness intervention on the parental efficacy and level of family involvement of low-income families. A second, primary focus of the study was to test the potential of academically focused experiences in the visual arts to increase the basic concept development of young children. To increase accessibility, the intervention was conducted in a neighborhood library.
The research design for this descriptive study included qualitative and quantitative components. Data collection consisted of a non-randomized one group pre-test/posttest design from students on a standardized instrument and from primary caregivers using self-report questionnaires. Other data collection sources included field notes documenting observations made during implementation collected by the investigator, parent home engagement data in the form of a weekly survey filled out by adult participants and weekly phone calls monitoring any issues or questions regarding the completion of take-home activities.
The results of this relatively small sample using the visual arts to build basic concept knowledge indicate that, given a larger sample, this approach may prove to be a promising strategy to use with young children and their families. The average raw score gain on the student basic concept scale was 8 points at the end of the seven-week intervention. The parent surveys indicated that almost all books sent home were read each week and an average of three home learning activities per book were completed between sessions. The majority of parents commented at least once on the At-Home Surveys about increases in positive interaction with their children while engaged in the home learning activities. Enhancing the parent-child relationship begins with the sharing of positive experiences. Comments made by adult participants indicated that parents felt empowered to better support their child's learning by participating in this experience.
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Suominen, Anniina. "Writing with photographs, re-constructing self: an arts-based autoethnographic inquiry." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1061236352.
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Holt, David Arthur. "Art in primary education : a study of the generalist as teacher of the visual arts." Thesis, University of Exeter, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329887.
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Goodwin, Daisy Wilson. "Virginia policymakers' views on the value of visual arts education at the high school level." Diss., Virginia Tech, 1996. http://hdl.handle.net/10919/37772.
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The purpose of this study was to find out from Virginia policymakers their feelings toward visual arts education as a required subject at the high school level by answering the following questions: (1) How do policymakers and gatekeepers see the value of visual arts education as a required subject on the high school level? (2) What is the attitude of Virginia policymakers and gatekeepers towards the importance of issues pertaining to the framing of a visual arts education program? (3) What is the importance of placing visual arts education in the high school curriculum as a required subject for the appreciation and understanding of our society? (4) Of what importance do policymakers and gatekeepers feel visual arts education is in the curricula of high school students as far as their academic, social, cultural, and personal development are concerned?
A pilot study was conducted in which 17 issues important to visual arts education were addressed. Data for the main study was collected by means of a questionnaire in which a selected panel of supervisors of instruction, assistant superintendents, local school board members, and school system superintendents were surveyed. The study, consisting of a three part questionnaire, was conducted by mail over several weeks with a group of 70 local policymakers and gatekeepers.
Findings of this study indicate that about half (54%) of the policymakers surveyed believe that it is very important (16%) and important (38%) to offer visual arts education as a required subject on the high school level. Eighty - six percent feel that standards should be formulated and used in developing a visual arts education framework. Seventy - six percent of the respondents felt that visual arts education is important for the appreciation and understanding of our society. Seventy - one percent of the policymakers surveyed agreed that visual arts education is important for the academic, social, cultural and personal development of high school students. It is quite evident that there is a division among policymakers and gatekeepers regarding the value of visual arts education as a required subject on the high school level.<br>Ed. D.
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Netherland, Elizabeth. "A Study of Practices in Texas Schools Relating to Gifted Education in the Visual Arts." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500467/.
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The purpose of the study was to determine a definitive description of "artistic giftedness." A questionnaire was sent to Texas art teachers to find what characteristics they attribute to the artistically gifted, how they determine this, and what program goals they set. The wide variety of survey responses indicates the diversity of artistically gifted individuals. The high rating on all items indicates that all could be used as identifiers (higher rated characteristics identifying a larger population, lower rated ones, a smaller population). Responses to items dealing with identification indicate nontest methods to be most widely used. No connection was found between goals chosen and either characteristics or methods.
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Johnston, John. "Critical visual arts education : a pedagogy of conflict transformation in search of the 'moral imagination'." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9661/.
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The following portfolio is representative of my own artistic practice that combines the role of artist, educator, peace worker and researcher into one entity. The works are drawn from a back catalogue of fifty plus collaborative arts projects that has engaged with individuals and communities in different locations over the past twenty years. These works have been delivered within formal and informal educational settings. While each piece can be read as an individual artwork – collectively they talk to common issues related to visual art practice, public pedagogy and conflict transformation. I have identified four consistent themes present in the work Social Justice, Human Rights, Development Education, Democratic Education, Inclusion and Identity. My practice can be described as a socially engaged art practice. However, while I pay close attention to the aesthetics and artistic impression of my work, I place a primary importance on education by asking a simple question which often provides a myriad of highly complex answers. I ask - What is being learned? I have worked with children, young people and others who live in the midst of socio-political conflict or in societies affected by underdevelopment. This combination of experiences has enabled me to forge a deep understanding of the role of identity politics in the construction of division and conflict. I have developed what I choose to call a problem posing1 visual arts pedagogy that serves to expose and undermine the conditions that sustain such divisions. My work has uncovered an implicit interconnectivity among art practices, critical pedagogy and the concepts and practices of conflict transformation. This combination coupled with my experience in the field of peace building, has enabled me to develop a unique pedagogical form that is responsive to the context and needs of specific communities. Through the following commentary I posit this pedagogy firmly within the general discourse of peace building. The portfolio presents new knowledge that aims to inform innovative approaches to the role of the visual arts in conflict transformation and ultimately lead toward 1 Problem posing – drawing on Paulo Freire (1970) Pedagogy of the Oppressed: a problem posing pedagogy offers opportunities for learner and teacher to build a relationship based on critical inquiry. ii embedding such processes in the field of peace building and international diplomacy.
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Fine, Karen A., and James hH Lampley. "Online Education: A Comparison of the Perceptions of Traditional Versus Online High School Teachers Regarding the Visual Arts." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3019.
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As more high school student take advantage of online instruction leading to a high school diploma, teacher training programs are not keeping pace with pedagogical instruction for those high school teachers that want to teach online. We often think of online instructions for home school students, students with long-term illnesses, or students that have been suspended or expelled. However, because many school districts have cut “nonacademic” offerings from the curriculum online instruction in the arts often is the only source of instruction in the arts for these traditional high school students. If teacher education departments are to address this issue the perceptions of classroom teachers (traditional and online) toward online teaching of the arts needs to be studied. Perceptions of faculty members from high schools with traditional instructional delivery models as well as public online schools concerning online education as it relates to the arts in 4 different areas was the focus of this research; delivery method, satisfaction, student learning, and curriculum. Examining the perceptions of teachers gives a blueprint for future learning regarding course design to meet the unique online delivery method. The purpose of this quantitative study was to investigate the perceptions of high school faculty members of online instruction of visual arts compared to traditional face-to-face instruction regarding visual arts delivery method, satisfaction, student learning, and curriculum. Data collection techniques included the use of a survey with a 6-point Likert-type scale and collection of demographic information. Data were analyzed through a nonexperimental quantitative methodology further explained through 4 dimensions (delivery method, satisfaction, student learning, and curriculum). In faculty members age differences, gender, years of teaching, and subject area taught were investigated to see if there were any significant differences. The population included faculty members of online and traditional high schools in the southeastern United States. The following states were chosen for the study; Florida, Georgia, North Carolina, Tennessee, and Virginia. There were 490 participants in the online survey. This study revealed that there is statistical significance difference in several age groups and years worked in the delivery dimension. There is also statistical significance difference in the satisfaction and curriculum dimensions in the academic discipline grouping for fine arts. Curriculum dimension was also found to be significant in the online delivery method. The dimension of student learning was statistically significant in age groups. No significant difference found in gender with any of the dimensions.
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Fine, Karen A., and James Lampley. "Online Education: A Comparison of the Perceptions of Traditional Versus Online High School Teachers Regarding the Visual Arts." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/3037.
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Bowen, Shirley A. "Recovering and Reclaiming the Art and Visual Culture of the Black Arts Movement." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1228514505.
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Fossum, Farrah W. "Factors that influence school board members when eliminating, expanding, or maintaining curriculum in visual arts education." Menomonie, WI : University of Wisconsin--Stout, 2005. http://www.uwstout.edu/lib/thesis/2005/2005fossumf.pdf.
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Capra, Carmen Lúcia. "Problematizações sobre políticas da arte na licenciatura em artes visuais : é preciso gostar da arte de outro jeito, a licenciatura é uma praça." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/174852.
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A tese apresenta a problematização de políticas da arte na licenciatura em artes visuais indagando sobre como certos modos de operar com a arte nesse curso produzem efeitos sobre os professores em formação. Efeitos como a demarcação de lugares, modos de ser ou certas concessões em relação às artes visuais são analisados, tendo em vista a docência para a educação básica. Utilizaram-se metodologias artísticas de investigação, adotando-se como procedimento as residências em duas universidades públicas brasileiras onde existem cursos de licenciatura em artes visuais e experiências artísticas com fotografia, escrita e intervenções em folhas de papel almaço, consideradas como um elemento característico de situações de educação. A metodologia também assumiu uma perspectiva teórica desenvolvida com o estímulo foucaultiano em articulações ao pensamento de Jacques Rancière, Giorgio Agamben, Georges Didi-Huberman, Carlos Skliar, Jorge Larrosa, Jan Masschelein e Maarten Simons, entre outros, permitindo conexões entre a filosofia, a arte e a educação. Na constituição discursiva da licenciatura em artes visuais, foi possível identificar vínculos entre uma estrutura política e uma prática moral implementadas por uma economia da arte. Observou-se que a formação docente assume o discurso do campo artístico, considerando-o como o princípio a ser adotado pelos professores, o que produz diferentes lugares e modos de ser dos licenciandos em relação à arte. A partir daí foi possível descrever as principais bases componentes da formação docente, a base estética e a base criadora, que atendem à estrutura teórica e poética da arte Quando tais bases são conectadas à educação, contribuem à ênfase no sujeito e aliam-se a promessas de liberdade e progresso. Em consonância à atitude adotada desde a composição da metodologia da pesquisa, propõe-se a inserção de uma base política na licenciatura em artes visuais como a possibilidade de perturbar as operações com a arte atribuídas à formação docente e à educação escolar. Como atitude, a política daria condições de realizar as indagações necessárias à arte e à educação indo além da reafirmação das experiências do artista e do espectador, da autonomia da arte e do viés biográfico que atravessa a constituição desse campo. Essas operações, no curso de licenciatura, mantêm o tom metafísico da experiência e do conhecimento artístico e fazem germinar sobre a docência o exame moral esvaziador do agir político necessário à arte e à educação. A atitude política de eliminar as distâncias e redistribuir os lugares de experiência com a arte na licenciatura em artes visuais pode produzir existências artísticas nascentes em lugar de modos de ser delineados por outros. Como contribuição, aponta-se que profanar o que tornou-se sagrado e afastado do uso comum, como certos modos de ser, posses e direitos sobre a arte, pode dispo-la ao uso livre na escola.<br>This thesis presents the problematization of the politics of art int the graduation on Visual Arts inquiring how certain ways of operating with the arts in this course affect the teachers under training. Effects as the mapping of the places, ways of being or certain concessions in relation to the training to the Visual Arts are analyzed, having in sight the teaching in basic education. Artistic methodologies of investigation were used: residences at two Brazilian public universities where there are undergraduate courses in Visual Arts; and artistic experiences such as photography, writing and interventions on lined sheets of paper, which are considered a typical element of learning situations. The methodology also assumed a theorical perspective developed with the Foucaultian stimuli in articulation with the thought of Jacques Rancière, Giorgio Agamben, Georges Didi-Huberman, Carlos Skliar, Jorge Larrosa, Jan Masschelein and Maarten Simons, among many, allowing connections among Philosophy, Arts and Education. In the discursive constituion of undergraduation in Visual Arts, it was possible to identify links between a political structure and a moral practice implemented by an economy of the art. It was observed that the teaching training assumes a discourse at the aisthetic field, considering it the principle to be adopted by teachers, which produces different places and ways of being on the undergraduates in relation to art. From this on it was possible to describe the main component basis of the teaching training, the esthetical basis and the creative basis which attend the thoeorical and poetic structure of the arts When those are connected to education, they contribute to the emphasis on the subject and are allied to promises of freedom and progress. In accordance to the attitude adopted since the composition of the methodology of research, it is proposed the insertion of a political basis at the undergraduation course of Visual Arts as a possibility to disturb the operation with art attributed to teacher training and to school education. As an attitude, the politics would give conditions to realize the necessary questioning to the art and to education, going beyond the reaffirmation of the artist experiences and the expectator, the authonomy of the arts and the biographical bias which goes through the constitution of this field. These operations, in the course of undergraduation, maintain the metaphysical tone of the artistic experience and knowledge and make germinate over the teaching the emptying moral scrutiny of the political acting to Arts and Education. The political attitude to eliminate distances and redistribute the places of experiences with art at the undergraduation course of Visual Arts may produce artistic rising existences instead of ways deliniated by others. As contribution, we poit out that to profanate what became holy and distant from the common use, as certain ways of being, possessions and rights over the art, may dispose it to the free use of the school.