University of Macau / Faculty of Education

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005

The purpose of this research is to document the visual art production of Indian South Africans who graduated from the University of Durban-Westville (UDW) with a degree in Fine Art, and provide an explanation of how and why their art works are so poorly documented within a post-Apartheid art historical narrative. When South African Apartheid society was designed to promote Black intellectual underdevelopment, this Indian university provided a space for young Indian intellectuals from all fields to engage with the struggle politic of the country to envision a strategy for a liberated and democratic future. While the visual art in this country has provided powerful social commentary throughout the Apartheid years, the voice of the Indian artist has remained silent. Some students managed to complete their degrees and find a little recognition as artists; the majority, however, relegated their art-making to a pastime. Little is known about this body of graduates; hence this research attempts a systematic study about how Indian Fine Art graduates fell into silence upon the completion of their degrees. The rationale of this study is to determine in what ways the constructs of culture, politics and identity, as key environmental factors at UDW, impacted on the virtual absence of Indian artists from South Africa’s art history. To this end, the social history of education of Indian South Africans since their arrival in this country has been provided. The influential and historical location of the University College for Indians (UNICOL) and later UDW as a cultural and political construct is explored against the art production of its Fine Art Department. Thus, the geopolitical space of this university as a site of struggle is contextualised. Against this background, the varied life stories of the forty-three graduates presented in this study are contextualised within the framework of separate and segregated education. These stories illuminate the unfolding dynamics that shaped the directions they subsequently took. The significance of this study lies in its contribution of knowledge to the existing literature on Indian history in South Africa as well as on the art production of this community as students of the Fine Art Department at UDW and subsequently as a small body of practising, but not always exhibiting, artists. Through this study I suggest that some of these graduates became internal exiles, which positioned them on the margins of the art-producing community in this country. This position of marginality impacted on their representation within the South African art historical archive. The study makes a number of recommendations to bring these and other South African Indian artists into the picture again. / Thesis (Ph.D)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

The purpose of this study was to document and understand the meanings associated with the visual elaboration (Painter, 2002a), of a particular house i.e. what was done to it after it was built and why, in Victoria, British Columbia, Canada, by successive occupants, including myself, over a period of nine decades. I used a case study, involving documents and artefacts and interviews with key informants. Taking an interpretive epistemological stance, I employed a narrative approach to inquiry (Kramp, 2004, Johnson-Bailey, 2004). The individual narratives resonated with recent anthropological findings. The house saw home managers exert their agency (Pink, 2004). Additionally, inhabitants left a signature on the structure (Dominy, 1997), and carried with them mementos from the home they had made there (Marcoux, 2001). Over time, through transformation processes, both individuals and the house were changed (Miller, 2001a). Further, the design legacy left by previous inhabitants acted as a form of agency on successive residents (Miller, 2001b), and through reciprocal accommodation the house and its occupants came to terms with each other (Miller, 2002). Additionally, six common themes emerged: epistemological orientation, economics, male and female, reminiscences and affect, childhood to adulthood and history and presence. My finding that an individual’s epistemological stance was related to her/his artistry supports an emerging vision in art education, that of art practice as research (Sullivan, 2005). This has implications for both research and practice. Firstly, the processes through which non-specialists work need to be more fully explored. Secondly, we require a changed view of art history where art images are understood as part of a productive visual culture (Marshall, 2007). This is a concept-focused analysis of art where meaning is demonstrated to be contextual and intergraphical, and is manifest in artworks that can be scrutinized across cultures and time. Thirdly, our concept of visual literacy must expand; if we construct knowledge and reality through making images as well as by decoding the meaning of existing visual images, then art practice is schools is imperative (Marshall). Finally, visual thinking is integrative (Marshall), and thus art integration and a new approach to art and learning are essential.

This qualitative inquiry explores a community-based art partnership called the semester programs that took place between Artpace San Antonio and Louis W. Fox Academic and Technical High School from 2004 until 2006. This narrative inquiry used interviews with artists and former Fox Tech art students involved in our program, along with my teacher/ researcher reflections, to make meaning from the data. The artists involved in the semester programs were Gary Sweeney, Daniel Guerrero, David Jurist, and Ethel Shipton. Former students interviewed include Eloy McGarity, Rosa Leija, John Contreras, and Jennelle Gomez, while I, Maria Leake represent the voice of the art teacher. Our stories of experience were analyzed and connections between situated learning theory, creativity theories, community-based art education, and memory research were all recognized as being exhibited during our community partnership programs. There were seven patterns and themes that were noted as occurring within each semester program, as well as notable distinctions. The patterns and themes from the data analysis suggest that our community partnership reflected the following: learning and creative expression went beyond the individual; networks of support and communication were available to all participants; challenges were acknowledged; empathy between participants was an unintentional outcome; working together as a community of practice facilitated personal interactions and connections; learning and creative expression went beyond the traditional curriculum; and educational benefits were realized by all participants.

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)

Orientador: Marianna Francisca Martins Monteiro / Banca: Pedro Rodolpho Jungers Abib / Banca: Alberto Tsuyoshi Ikeda / Resumo: Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi - Renascer, Batizado e Morte -, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais / Abstract: This dissertation is to introduce "Grupo de Danças Brasileiras Gracinha", and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center - "Centro de Convivência Gracinha", which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being "Bumba-Meu-Boi" the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of "Bumba-Meu-Boi" - Rebirth, Baptism, and Death -, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered "Grupo de Danças Brasileiras Gracinha"'s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects / Mestre

Orientador: Claudia Valladão de Matos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:15:35Z (GMT). No. of bitstreams: 1 Formico_MarcelaRegina_M.pdf: 13487393 bytes, checksum: 919b96d1f4b3895551f708c721d3b616 (MD5) Previous issue date: 2012 / Resumo: Este trabalho apresenta uma contribuição para a análise do jogo de relações que se estabeleceu entre a pintura produzida no contexto brasileiro do século XIX e a produção internacional, especialmente francesa, centrando-nos na trajetória artística do pintor Oscar Pereira da Silva. A trajetória desse artista foi marcada por diversas idas e vindas entre Brasil e França, fazendo do artista um verdadeiro tradutor do sistema artístico francês para o contexto brasileiro. Desta forma, a partir da escolha da obra, "Escrava Romana", como "chave-mestra" para o desenvolvimento do debate em questão que se baseia o fluxo argumentativo da pesquisa. Razão que é justificável por esta tela representar um exemplar do primor técnico do estudo acadêmico do pintor brasileiro durante sua estádia com os mestres franceses, principalmente o pintor Jean- Léon Gérôme, que possui uma gama de obras que versam a temática explorada pelo objeto central de estudo. O segundo e último motivo se resguarda por se tratar de uma obra de grande impacto visual que compõe a galeria da Pinacoteca do Estado de São Paulo e ser um belíssimo representante da mais clássica das atividades do currículo da arte acadêmica do século XIX, a representação do nu / Abstract: This work presents a contribution for the relation's analysis between the masterpieces made inside the Brazilian's context on the 19th century and the international art's production, specially in France, focussing in the artistic path of the painter Oscar Pereira da Silva. The artist's life had a closer relation with France, making the painter a true translator of the French artistic model to Brazil. By choosing a particular painting as a methodological matter, the "Escrava Romana" became the "master key" for the research. To justify, this canvas is a perfect model of academic studies during his learning period with the French masters, specially Jean-Léon Gérôme, artist who developed a great number of canvas with the same thematic. The second and last reason is the great visual impact that this master-piece represents inside the gallery of Pinacoteca do Estado de São Paulo and for being a beautiful sample of the most classic discipline in the learning process at École des Beaux Arts and the academic art in general, the representation of the nude / Mestrado / Mestra em Artes Visuais

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