This arts-based, qualitative investigation focused on high school English teachers of students with learning dis/abilities (Baglieri & Knopf, 2004) who used visual arts integration (Eisner, 2002) to find out how teachers experience using visual arts in English and what their experiences mean (Zoss & White, 2011) in order to understand why certain experiences stood out for the teachers as being important. I framed the study theoretically with complexity theories of teaching and learning (Davis, Sumara, & Luce-Kapler, 2008), while combining aspects of sociocultural theory (Smagorinsky, 2001; Vygotsky, 1978; Wertsch, 1991), cognitive pluralism (John-Steiner, 1997) and Dewey’s notion of experience (1934/1980). The teacher participants were three high school English teachers employed at an independent school for students with learning dis/abilities. A/r/tography (Irwin & Springgay, 2008; Springgay, Irwin, & Kind, 2005, 2008) influenced my methodology in that I created visual art to theorize the data and my experiences conducting the study. I collected data during spring and summer 2011. Data sources included participant observation and field notes (Dewalt & Dewalt, 2002), photography (Coover, 2004; Harper 2000, 2002), teachers’ visual texts (La Jevic & Springgay, 2008), artifacts (Prior, 2003), and interviews (Smagorinsky, 2008; Smagorinsky & Coppock, 1994). I used qualitative methods of coding analysis (Charmaz, 2006; Ezzy, 2002; Saldaña, 2009) and visual analysis (Riessman, 2008; Rose, 2001), as well as arts-based methods for educational research (Cahnmann-Taylor & Siegesmund, 2008). This study fills a gap in empirical research in both English education and special education by examining English teachers integrating art in classes for students with dis/abilities. Furthermore, understanding how teachers experience visual arts integration can inform methods courses for teaching secondary English educators.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-14T19:02:18Z No. of bitstreams: 1 arquivototal.pdf: 11447680 bytes, checksum: 83c138434c56c321115006248f6d222b (MD5) / Made available in DSpace on 2016-09-14T19:02:18Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 11447680 bytes, checksum: 83c138434c56c321115006248f6d222b (MD5) Previous issue date: 2016-03-30 / By an Utopedagogia in Visual Arts Education at the Federal Institute of Education, Science and Technology of Piauí (IFPI), it is a research elaborately in order to understand how developed the teaching of Visual Arts in IFPI, as well as develop together with a group of Art teachers of the institution a discipline plan proposal that had as a parameter the principles of Libertarian Education. This research enabled me to better understand both Federal Institutes and the teaching of Visual Arts in IFPI. For this, the working method was the collaborative research through focus group, with the theoretical basis of Libertarian Education and the confluence of Autopoiesis and A/r/graphy, whose interlaces allowed achieve the proposed objectives". / Por uma Utopedagogia no Ensino de Artes Visuais no Instituto Federal de Educação, Ciência e Tecnologia do Piauí (IFPI), é uma pesquisa elaborada com o propósito de compreender como é desenvolvido o Ensino de Artes Visuais no IFPI, bem como desenvolver juntamente com um grupo de professores de Arte da instituição uma proposta de plano de disciplina que tivesse como parâmetro os princípios da Pedagogia Libertária. Esta pesquisa me possibilitou conhecer melhor tanto os Institutos Federais quanto o ensino de Artes Visuais no IFPI. Para isso, tomei como método a pesquisa colaborativa por meio do grupo focal, tendo como base teórica a Pedagogia Libertária e a confluência entre Autopoiese e A/r/tografia, cujos entrelaçamentos possibilitaram atingir os objetivos propostos.

In a world of increasing religious/political tensions and conflicts this study asks, what is the transformative significance of an arts and ritual-based approach to developing and encouraging women’s spiritual and multi-faith leadership? To counter destructive worldviews and practices that have divided people historically, politically, personally and sacredly, the study reinforces the political and spiritual value of women spiritual and multi-faith leaders creating and holding sacred space for truth making and world making. An a/r/tographic and mindful inquiry was engaged to assist self and group reflection within a group of women committed to multi-faith education and leadership in their communities. The objectives of the study were: 1) to explore through collaboration, ritual and art making processes the women’s experience of knowing and not knowing, 2) to articulate a curriculum for multi-faith consciousness raising, and 3) to develop a pedagogy and methodology that can serve as a catalyst for individual and societal change and transformation. The co-participants/co-inquirers (including the lead researcher as a member of the group) are fourteen women, who practice within eleven different religions and/or spiritual backgrounds, and who are part of a volunteer planning team that organizes an annual women’s multi-faith conference (Women’s Spirituality Celebration) in Vancouver, British Columbia, Canada. The aesthetic/ritual structure of the labyrinth served as a cross-cultural multi-faith symbol in guiding the dissertation, which includes three art installations and four documentary DVDs of the process and art. New understandings found in the study include: 1) the ethical sanctuary that a/r/tography as ritual enables for personal and collective change to take place within, 2) the addition of synecdoche to the renderings of a/r/tography, assisting a multi-dimensional spiral movement towards a whole a/r/tographic practice, 3) a lived and radically relational curriculum of philetics within loving community that drew forth the women’s erotic life force energy and enhanced the women’s ability to remember the power of the feminine aspect of the Divine, and 4) the decolonization of the Divine, art and education, which took place as a pedagogy of wholeness unfolded, requiring a dialectic relationship between restorative and transformative learning. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This arts-based research study is an examination of the influence of drama education on the development of high school students. Five recent graduates were interviewed (including the researcher) about their high school drama experiences. All participants had been selected for this study because they have been impacted as a result of their time in/with drama. Culminating in a script, the research takes the form of an arts-based playwriting inquiry, shaped by A/r/tography and rhizomatic influences, making use of Barone and Eisner’s five phase creative process. Adhering to an Aristotelean story arc outlined by Martini, metaphor in the four-scene play is used to explore and subsequently communicate concepts. In so doing, the researcher offers an expanded audience a renewed perspective on the impact that drama education has on the development of high school learners and invites viewers to consider drama’s impact on adolescent learners. Four main concepts were examined in the analysis: initiation, transition, habits of mind and, interdependency and it was found that these are central to all participants’ development. It was also found that learning contained within these four concepts, as experienced through drama education, has the potential to impact and equip students for life beyond high school. The process based, holistic learning central to drama education allowed participants to recognize and succinctly denote areas in their lives that were, and continue to be impacted by the dramatic experiences they took part in. / May 2017

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-08-10T13:23:25Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Roberta_Mendes_Machado_Dissertação.pdf: 5912017 bytes, checksum: a5807b9ffd3c9871d748cdf2543c0a1d (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-10T21:04:15Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Roberta_Mendes_Machado_Dissertação.pdf: 5912017 bytes, checksum: a5807b9ffd3c9871d748cdf2543c0a1d (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-10T21:05:16Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Roberta_Mendes_Machado_Dissertação.pdf: 5912017 bytes, checksum: a5807b9ffd3c9871d748cdf2543c0a1d (MD5) / Made available in DSpace on 2017-08-10T21:13:09Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Roberta_Mendes_Machado_Dissertação.pdf: 5912017 bytes, checksum: a5807b9ffd3c9871d748cdf2543c0a1d (MD5) Previous issue date: 2016-03-29 / Esta pesquisa está relacionada aos processos pedagógicos que cercam a imagem e a experiência estética no ensino das Artes Visuais. Propõe-se a problematizar aspectos atinentes às imagens da arte, da mídia, de campanhas publicitárias, de revistas, da Internet, enfim, imagens e artefatos visuais, observando de que maneira estas constituem, transformam, movimentam e determinam processos de identificação em direção a transformações pessoais e docentes. A abordagem conceitual fundamenta-se na Educação Estética, Ensino da Arte e Cultura Visual, perpassando pelos Processos de Identificação e suas possíveis transformações através de imagens. A pesquisa foi desenvolvida com 18 alunos do curso de Licenciatura em Pedagogia, em sua maioria, e do curso de Arquitetura e Urbanismo, da Universidade Federal de Pelotas / UFPel, no espaço de pesquisa construído em uma disciplina optativa da Licenciatura, denominada Linguagem em Artes e Comunicação. Possui como questões de pesquisa verificar os possíveis efeitos da imagem nos processos de identificação do grupo em questão; averiguar como se apropriam, transformam, produzem imagens e as contextualizam para construir significados e sentidos para a própria história. Realizou-se uma reflexão acerca dos possíveis encontros entre a visualidade - o olhar atravessado pela cultura visual -, e os processos de identificação a ela vinculados, pesquisando as relações entre artefatos visuais e observadores. Como aporte teórico, destaco os autores Fernando Hernández (2000; 2007), Maffesoli (1996; 2000), Duarte Jr. (2000), Dias e Irwin (2013), Martins e Tourinho (2009; 2011; 2012), Marly Meira (2007), Nicolas Bourriaud (2009), John Dewey (2010) e Jorge Larrosa (2002). Espera-se que este estudo contribua para a compreensão, o esclarecimento e a reflexão sobre os processos pedagógicos em arte, que cercam a experiência estética e os processos de identificação na formação de professores, processos tais que permitiram não só ratificar a importância assumida aos envolvidos, mas também para os educadores em geral, para o ensino de arte e para a vida. / This research related to pedagogical processes surrounding the image and aesthetic experience i the teaching of Visual Arts. It is proposed to discuss aspects related to art images, media, advertising campaigns, magazines, the Internet, etc., in short, visual images and artifacts, observing how they build, transform and determine identification processes in teacher training toward personal transformation and their formations. The conceptual approach is based on the Aesthetic Education, Art Education and Visual Culture, passing by identification processes and their possible transformations by images. The research was developed with 18 of Bachelor’s Degree in Education, in most cases, and the Architecture and Urbanism Degree of the Federal University of Pelotas / UFPel in a research opportunity during an elective discipline, called Language Arts and Communication. One of the research questions is to check the possible effects of the image in the process of group identification in question; find out how they appropriate, transform, produce images and contextualize to build meanings to their own history. A reflexion was held about the possible meetings between visuality and identification processes linked to it, researching the relationship between visual artifacts and observers. As a theoretical framework, I point out the authors Fernando Hernández (2000; 2007), Maffesoli (1996; 2000), Duarte Jr. (2000), Dias e Irwin (2013), Martins and Tourinho (2009; 2011; 2012), Marly Meira (2007), Nicolas Bourriaud (2009), John Dewey (2010) and Jorge Larrosa (2002). It is hoped that this study contributes to the understanding, clarification and reflection on the pedagogical processes in art surrounding the aesthetic experience and identification processes in teacher education, a process which allowed not only confirm the importance they have assumed for involved, but also for educators in general, for the teaching of art and life.

Through the creation of a graphic novel based on a Romanian Holocaust survivor’s testimony, this study attempts to clarify the role of artistic creation in meaning-making during Holocaust and genocide education. In facilitating empathy and moral education, the creative process encourages a deeper exploration of these troubling topics than is possible within the confines of a traditional academic approach. In order to understand this process, I worked with the testimony of Zoly Zamir, who escaped Bucharest following the Iron Guard Rebellion of 1941. The creation of the graphic novel took me from Austin to Houston and Romania, where I sought to trace the echoes of history in architecture and environment. Translating Zamir’s story into word and image produced an empathetic bond to the narrative and the region, facilitating a deeper understanding of the hows and whys of the Holocaust. That engagement spurred a desire to continue to ask questions, to look beyond a regimented understanding and view the broader implications of the history. / text

The nurturance of creative capacity and cultural awareness have been identified as important 21st century concerns, given the ways that globalisation has challenged cultural diversity. This thesis explores the share that the art classroom, as a formative place, has in supporting such concerns. It specifically examines artmaking strategies that visual arts teachers may use to help adolescent students to develop and negotiate their senses of self, place and community. Held within this goal is the assumption that both student and teacher perspectives are important to this endeavor. This thesis, accordingly, draws upon empirical work undertaken with lower secondary school level visual art students in Christchurch, New Zealand and teacher-trainees in Kingston, Jamaica to explore this potential in multi-dimensional ways. The research employs a qualitative, arts-based methodology, centred on the transformative capacity of ‘visual knowing’ to render this potential visible. A/r/tography as a particular strand of arts-based methodology, served to also implicate my artist-researcher-teacher roles in the study to facilitate both reflection and reflexivity and to capture the complexity and dynamics of the study. Multiple case studies provided the contexts to furnish these possibilities, and to theorize the intrinsic qualities of each case, as well as the complementary aspects of the inquiry in depth. The conceptual framework that underpins this study draws widely on scholarship relating to contemporary artmaking practices, visual culture, culturally responsive and place-conscious pedagogical practices. The research findings reveal that when the artmaking experience is framed around the personal and cultural experiences of the participants, both students and teachers participate in the enterprise meaningfully as co-constructors of knowledge. In this process, students develop the confidence to bring their unique feelings, experiences and understandings to the artmaking process, and develop a sense of ‘insideness’ that leads to strong senses of self, place and community. This also creates a space where the authentic interpretation of artmaking activities goes beyond the creation of borders around cultural differences, and instead generates multiple entry points for students to engage with information. The findings also indicate that while the nature of artmaking is improvisatory and emergent, structure is an integral element in the facilitation of habits toward perception and meaning making. Accordingly, emphases on structured, open-ended artmaking experiences, framed aesthetically, as well as exposure to both the products and processes of contemporary art serve this endeavor. Artmaking boundaries and enabling structures also help to supplement this process. Though this research is limited in scope (in terms of the community engagement), there exists evidence that collaboration with community resource persons enlarges students’ conceptions of artmaking. It presents the potential to address broad issues of local and global import, which also have relevance for the ways students understand their relationships with the world. For researchers outside of the school and community culture however, this process requires close working relations with school personnel to ensure its effectiveness and to facilitate those school-community bridges. The undertaking is also best realized when participants have their own senses of its value, and, as such, are more inclined to participate. A/r/tography, as an arts-based methodology presents much potential for examining the complexities of the artmaking experience. As a form of active inquiry it helps those who employ its features to be more attuned toward enquiry, their ways of being in the world, the ways the personal may be negotiated in a community of belonging, and the development of practices that address difference. This contributes to evolving and alternative research possibilities that value visual forms of ‘knowing’. Finally, this thesis addresses the paucity of research on visual arts education at the secondary level, especially in the Jamaican context. A significant feature of this research is the evidence of its effectiveness with both lower secondary school students and teachers across geographical contexts. It therefore presents the potential for similar studies to be undertaken internationally. Given that the results are site specific however, it is recommended that the adaptation of the framework of this study for future purposes also respond to the specific realities of those contexts.

This study was an exploration of the professional identities of secondary school mid-career art educators through arts-based educational research [ABER]. The aim of this research was to gain understandings of mid-career art educators’ perceptions of their professional identities. Inspired by my personal experiences as an art educator, this study engaged other art educators to visualise their professional identities, as secondary mid-career art educators in England, and contribute new perspectives to the research community. Theoretically, this study is aligned with the writings of Dewey (1934, 1944), Deleuze and Guattari (1987, 1994). Deleuze and Guattari’s post-structural concept of the rhizome formed the basis for the development of the ideas associated with identity. As an assemblage, the rhizome is a complex system based on non-linear, reactionary growth patterns. The non-linear growth of the rhizome is facilitated by the activation of the in-between. As such, the rhizome connects to a view of identity as an unstable, flexible and fragmented entity that is in a constant state of becoming (Bauman, 2000). Dewey’s pragmatism was connected with Deleuzian post-structural theory through the writings of Semetsky (2006). Dewey (1944) and Greene’s (1973, 2003) writings associated with democratic education and artistic development connected these theoretical considerations with constructivism, the arts and education. Sachs’ (2003) writing on progressive and bureaucratic education provided a framework for the discussion of professionalism and professional identities. As a contribution to ABER this study was based on a/r/tography (Springgay et al., 2008) as a methodology and actively integrated image and text to the data collection and data analysis. Collage was used as the main arts-based method to develop responses from the participants and to visualise the participant data. This research asked mid-career art educators with busy lives and demanding occupations to consider who they are and express their views through art. These images of identities reflected the complex in-between-ness of professionalism in education.