For the purpose of achieving gender equality in education, this study analyses the transformative power of the elementary school teacher candidates on society. The theories in the field of sociology of education have been used as a starting point for the study. Based on the feminist pedagogies of different strands of feminism, feminist critical pedagogy has been presented to achieve gender equality in education. The transformation of curriculum and the hidden curriculum are elaborated to achieve a non-sexist education. After the depiction of the situation Turkey holds in the field of women&rsquo / s education, the research conducted in three universities using feminist methodology and interview method is presented. With a view on their gender socialization, gender perceptions of the teacher candidates are analyzed. The ways their lives both inside and outside the household are affected by patriarchal hegemony are depicted and their ideas on education and the reproduction of gender through education are analyzed. The new generation of teachers holds low transformative power to transform the inequalities in society. However, the females in the group are leading their own individual struggles that lead to changes in their close circles. The simplified notion of patriarchy they have makes them blind to the reproduction of it by women and supports the bias against feminists. The fact that they are open to change and yet detached from civil society is reason to conclude that in the short run the most influential results can be obtained through the institutional changes at teacher training programs and schools.

The purpose of this study was to determine answers to several research questions: 1.) What do pre-service teachers know about feminist pedagogy or teaching in ways that are culturally responsive? 2.) In what ways are pre-service teachers prepared to use feminist pedagogy? 3.) How is a lesson constructed utilizing a feminist curriculum? All participating pre-service Art Education students completed a Survey of Art History, a questionnaire of their background in Art History, a questionnaire on their ideas of feminist pedagogy, and completed a group brainstorming of lesson plans. Data was analyzed from student responses. Results support the need for teaching more feminist content and pedagogy. Recommendations are made for further research.

xi, 81 p. : ill. / The purpose of my choreographic research is to challenge traditional tendencies in Western culture that objectify the dancing body and instead suggest different ways of understanding and seeing the body. My research strategized ways in which the choreographer might create opportunities to validate body image experiences of female dancers in a collaborative choreographic endeavor rooted in feminist pedagogy practices. Qualitative methodology included improvisation, journaling, and group discussions to enable the dancers to express themselves subjectively through words and movement. Insights from choreographers and scholars of feminist pedagogy in dance informed the collaborative creative process. Participants in this study identified validation of the personal body experience as a source of knowledge and utilization of the voice in dance as significant components leading towards empowerment and subjectivity for female dancers. / Committee in charge: Shannon Mockli, Chairperson; Dr. Jenifer Craig, Member; Rita Honka, Member

Each day countless numbers of high school students remain standing at the threshold of the door to meaningful learning in art history because of traditional authoritative instructional methods and content. With the keys of feminist pedagogy, interactive teaching methods, and the new art histories, the teacher can now unlock that door and lead students to personally relevant learning on the other side. A case study using both qualitative and quantitative research methods was conducted in a secondary art history classroom to examine the teacher's pedagogical choices and the degree to which they enable meaningful and relevant student learning. The analysis of multiple sources of data, including classroom observations, revealed statistically significant correlations between the teacher's instructional methods and the content, as well as their impact on student meaning-making.

This research seeks to explore how the metal arts are taught to women in Kuwait in an undergraduate setting, making the call for the use of feminist pedagogy when teaching the metal arts to women in Kuwait. This research is achieved using the qualitative methodology of analytic autoethnography. The theoretical framework is a feminist lens bridging the social construction of gender with the gendering of objects and feminist standpoint theory. The data comes from the experiences of creating three of my own pieces of artwork as well as the pieces themselves in tandem with historical, political, and cultural contexts. The analysis from this research is then bridged with feminist pedagogy in order to begin to develop an inclusive metal arts curriculum for women in Kuwait.

No description available.

No description available.

No description available.

This study explored best practices for teaching creative movement to twenty-four urban second graders by examining their perceptions of self and others. Creative movement education programs rarely focus on the exploration of self and group identity through the lens of diversity. More importantly, few studies have examined how to implement creative movement programs through pedagogies best suited to urban children. Over 12 weeks of practice, observation, and reflection, extensive data were collected regarding the children's interactions and creative processes. The curriculum focused on individual and group identities and examined the experiences of the children with the aim of developing pedagogical methods that best suited their urban cultural backgrounds. The study sought to answer the following research questions: 1) What are the children's perceptions of themselves and others throughout the creative movement learning process? ; and 2) How can teachers use this knowledge to devise creative dance pedagogy for urban children and create holistic curricula that develop these perceptions? During bi-weekly dance sessions, the students and teachers explored the concepts of "self" and "group" by moving, discussing, sharing different dance styles and images, using props and being actively involved in creative movement and expression. The project culminated in a school performance, in which the children presented dances that they had developed that represented the content explored in the sessions. The data collected included video recordings of the children's actions and comments, reflective drawings and texts that the children created, and observational notes recorded by an assistant teacher and the children's homeroom teacher. The video recordings of each session were transcribed and analyzed. The children's drawings and written texts, and the teacher's observational and reflective journals, were also reviewed. All data collection involved in the study was approved by the Institutional Review Board (IRB) for human subject protocol. A qualitative research approach guided the analysis, with a focus on Action Research and ideas drawn from the philosophical doctrines of Phenomenology and Phenomenography. The recorded video sessions and resulting transcriptions were used to create narrative descriptions that shed light on the children's experiences and uncovered specific elements that were of use in the development and refinement of creative movement teaching practices. Despite presenting occasional challenges as a group, the children spontaneously improvised and developed movements that expressed their preferences. They used the class as a creative outlet-aesthetically, physically and, at times, emotionally. The children danced to express their individual and group cultures as well as their movement preferences, their personal traits, and their perceptions of others. The pedagogical approach to the class promoted identity and diversity in the teaching and learning environment, providing teachers with insight into best practices for teaching urban populations. The study's Action Research methodology involved a reflective cycle of planning, action, and result. It investigated students' perceptions of themselves and others through their responses to creative movement education, and studied how these perceptions impacted creative movement facilitation. It discovered best practices that take into account students' unique cultures and learning styles. These practices can be used as a foundation for facilitators of creative movement classes involving urban children, enabling the development of curricula that explore experience, promote cultural expression, and foster diversity in learning. They also offer disciplinary strategies that cater to the environmental standards and unique needs of urban students. / Dance

Being and inviting full selves into academia is about marginalized and minoritized academics, teachers, and students investing in marginalized academics, teachers, and students. This autoethnographic and qualitative interview-based research starts to re-/co-author a new kind of academia; an academia based on care and consent which uplifts instead of tears down, and which centers crip, feminist, and queer justice. / Doctor of Philosophy / In this work, I discuss the possibilities that are opened by bringing your whole self into the institution of academia as a student, teacher, and/or researcher. A Pedagogy of the Full Self is about creating a new scholastic arena where those who face oppression are welcomed wholeheartedly as though they always belonged. I discuss how identities of gender, ethnicity, race, class, and dis/ability can impact student learning, faculty teaching, and researchers developing new information and I emphasize the role of clear communication in the process of developing new ways to learn, create, and share knowledge.