Esta pesquisa visa a estudar a diversidade de configurações e perspectivas filosóficas, políticas e pedagógicas na prática cotidiana de professores de Arte da Secretaria de Educação do Estado de São Paulo para o Ensino Fundamental II e Ensino Médio. Para além disso, discutiremos a relação entre a pluralidade de práticas que ocorrem nas escolas e as expectativas dos documentos oficiais para o ensino de Arte. A pesquisa parte de uma caracterização geral dos professores de Arte indicando: número de profissionais, formações específicas e contextos de trabalhos para situar a análise das formas de compreensão, desenvolvimento e apropriação da proposta vigente. Por fim, procuramos levantar hipóteses de como estão organizados o ensino e os processos de aprendizagem em Arte, buscando possibilidades e limites dentro do que é determinado pelo atual currículo oficial de estrutura do ensino oficial regido pelo Estado de São Paulo. / This research aims to study the diversity of philosophical, political e pedagogical settings and perspectives in the daily practice of Art teachers from São Paulo States Secretary of Education for Secondary education Beyond that, we will discuss the relation between the plurality of practices which occurs in the schools and the expectations of official documents for Art teaching. The research begins characterizing Art teachers indicating: number of professionals, specific graduation e work context in order of situating the analyzes of manners of comprehensions, development e appropriation of the actual propositions. At last, we intend to raise hypothesis of how the teaching and the learning process are organized in Art, searching for possibilities and limits inside of which is determined by the current official curriculum of São Paulo State to the Art teaching.

Este estudo analisa o trabalho de Artes Visuais desenvolvido durante três anos, de 2008 a 2010 com seis crianças que tiveram paralisia cerebral e outras lesões cerebrais no nascimento. As crianças tinham entre 7, 8 e 9 anos na época. O objetivo principal das aulas de arte foi o de desenvolver os sistemas proprioceptivo e exteroceptivo. O sistema proprioceptivo é definido como a percepção do corpo no espaço e da relação dos segmentos do corpo entre eles. O sistema exteroceptivo é definido como a ação dos sentidos da visão, audição, sensibilidade da pele, cheiro e sabor. Desenvolvi um projeto que trabalhou a relação do corpo no espaço mas ao mesmo tempo era voltado especificamente para o desenvolvimento da percepção, tentando envolver todos os sentidos.. Outra preocupação foi a inclusão cultural dessas crianças levando-os para exposições e espaços culturais. O desenvolvimento da consciência corporal e da alfabetização cultural estava associado não só com a visita a instituições culturais, mas também com a apresentação de obras de artistas e a presença de artistas convidados para trabalhar com eles na sala de aula.Começamos com o desenho do contorno dos corpos em papel, pintura e fotografia.Continuamos usando o corpo, desta vez como um pincel, depois de assistirmos ao vídeo de Yves Klein, no qual as bailarinas com corpos pintados produziam pinturas na tela com seus corpos. Continuamos, ao convidar um artista para pintar seus rostos. A relação do corpo,da cadeira de rodas e do espaço continuou sendo explorada através da visita ao Instituto Tomie Ohtake e outras visitas como ao Jardim de Esculturas do Parque da Luz e à Exposição de Arte para Crianças no SESC Pompeia, onde eles exploraram uma reinterpretação do Quadrado Mágico n.5 de Hélio Oiticica. Todas as crianças usam cadeiras de rodas, alguns não falam e têm dificuldade de ver. A professora também está em cadeira de rodas, não fala. E tem defict visual. Tinha que ir às instituições antes da visita dos estudantes para verificar a acessibilidade e a receptividade.. A preparação para as visitas também envolveu o entendimento anterior com as instituições e os seus serviços educacionais. Desde 2008 os professores da ONG Nosso Sonho, onde este estudo foi realizado, estão trabalhando para a alfabetização deste grupo de crianças. A neurobiologia considera que passada a idade adequada para a alfabetização torna-se mais difícil aprender a ler e escrever. É necessário uma reabilitação através do desenvolvimento integrado dos sentidos. Baseei-me em varias fontes entre elas também em Hélio Oiticica para projetar as atividades para desenvolver a percepção do corpo inteiro e em John Dewey para apoiar a ideia de experiências provocadas. / This study examines the work of visual arts developed during three years from 2008 to 2010 with six children who had cerebral palsy and other brain injuries at birth. Children were 7, 8 or 9 at the time. The main objective of art classes was to develop the proprioceptive and extero-ceptive systems. The proprioceptive system is defined as the perception of body in space and of body segments in relationship. Exteroceptive system is defined as the action of the senses of sight, hearing, skin sensitivity, smell and taste. I developed a project that worked the body\'s rela-tionship in space and specifically focused on the development of perception, trying to involve all the senses..Another concern was the cultural inclusion of these children taking them to exhibi-tions and cultural spaces. The development of body awareness and sense of cultural literacy was associated with not only visiting cultural institutions, but also the presentation of works by artists and the presence of guest artists to work with them in the classroom. We begin with contour drawing of the bodies on paper, painting, and photography. We continue using the body, this time, as a brush after seeing the video of Yves Klein where dancers with painted bodies produced paintings on the screen. We continue inviting an artist to paint their faces. The relationship of the body with other bodies, the weelchair, works of Art and space continued in the visit to the Institu-to Tomie Ohtake and other visits to the Garden of Sculptures in the Parque da Luz and the Child-ren\'s Art Exhibition at SESC Pompeia, where they explored a reinterpretation of the Magic Square 5 by Hélio Oiticica. All children use wheelchairs, some do not speak and have difficulty to see. The teacher is also in wheelchair, does not speak and has visual problems. So I had to go to the institutions before the students to check the accessibillity. The preparation for the visits also involved the previous understanding with the institutions and their educational services. Since 2008 the teachers of the NGO Nosso Sonho (Our Dream) where this study took place,are working towards the literacy of this group of children. The neurobiology considers that the lost of appropriate age for literacy, makes it more difficult to learn to read and write.It is necessary a rehabilitation through the integrated development of the senses. I relied also on Hélio Oiticica to project activities to develop the whole body perception and John Dewey to support the idea of provoked experiences.

O ponto de partida desse trabalho são as práticas da disciplina eletiva Tópicos Especiais em Design XV - Bambu, oferecida aos alunos de graduação da Pontifícia Universidade Católica do Rio de Janeiro (PUC-RIO), que tem como foco a utilização do bambu em construções coletivas. Esta dissertação investiga as contribuições dos brinquedos para a formação de um espaço de convivência e aprendizagem, relatando a história de uma pesquisa a partir de oficinas realizadas com um brinquedo feito de bambus e panos chamado Ciranda das Cores. Esse brinquedo foi construído na comunidade do Horto, localizada na Zona Sul do Rio de Janeiro. A brinquedoteca Volante do Horto é um dos pólos de ação do Projeto Rede Brincar e Aprender, que tem como objetivo valorizar o brincar no dia - a - dia da comunidade contribuindo para a formação solidária e harmoniosa da criança. / The starting point of this work is the practice of an optional class \"Especial Topics in Design XV - Bamboo\" offerred to the graduation students of Pontific Catholic University of Rio de Janeiro (PUC- RIO), which has the focus of using bamboo in group constructions. This dissertation investigate the toys\' contributions to in the formation of learning and co-living space, reporting the story of a research based in workshops performed with a toy made with bamboos and fabric called Ciranda das Cores (Circle of Collors). This toy was built in a \"Horto\" community, found in the South Zone of Rio de Janeiro. The toyplace \"brinquedoteca Volante do Horto\" is one of the main pole of action of the project Rede Brincar e Aprender (Play and Learn Net), which has the goal of valorizating the playing in the community day- by- day contributing to the solidary and harmonious child constitution.

Este trabalho se constitui como uma investigação narrativa acerca dos critérios de seleção de filmes para exibição em contexto escolar, formal e informal, e das abordagens do cinema que esses critérios engendram, tendo como ponto de partida as atividades do Programa de Alfabetização Audiovisual e sua rede de professores. Por meio de entrevistas semi-estruturadas com professores da educação básica, profissionais e pesquisadores do Programa, relaciona as práxis de exibição de filmes a teorias do cinema e educação e ao conceito de momentos de intensidade do filósofo Hans Ulrich Gumbrecht. A título de organização, e a partir das narrativas dos entrevistados, foram elencadas cinco abordagens principais de exibição de filmes em contexto escolar: abordagem de evento, abordagem da crítica cultural, abordagem da produção audiovisual, abordagem de debate temático e abordagem cineclubista. As questões levantadas sobre critérios de seleção fílmica foram trabalhadas de modo a estabelecer de que formas o cinema é pensado no ambiente escolar e em projeto voltado a esse público, em seu eixo de exibição. / This work constitutes an investigative narrative about the criteria of film selection for exhibition in a formal and informal school context, and the cinema approaches that these criteria generate, starting from the activities of the Audiovisual Literacy Program and its network of teachers. Through semi-structured interviews with teachers of basic education and professionals and researchers of the Program, it relates the praxis of film exhibition to theories of cinema and education and to the concept of moments of intensity of the philosopher Hans Ulrich Gumbrecht. As a form of organization, and based on the narrative of the interviewers, five main approaches of film screening on school context has been categorized: the event approach, cultural criticism approach, audiovisual production approach, thematic debate approach and the cinema club approach. The questions raised about criteria of film selection were worked out to establish in which ways cinema is thought on a school environment and on a project aimed to this public, in its axis of exhibition.

<p> Challenging problems require transdisciplinary, novel solutions. Equity demands that all students receive appropriate services to develop talents and potential, however, poverty limits opportunity. According to the National Association for Gifted Children (2017), approximately 6% to 10% of all students exist within the gifted and talented range. A specific subset of this demographic, underrepresented gifted and talented (UGT) student fail to receive appropriate access to develop their creativity and leadership potential. Grounded in the Human Ecology Theory (Bronfenbrenner, 1979), this case study argues that talent development requires arts education to enrich and support UGT students. Application of a qualitative case study, design process allowed authentic interviews of professionals working in the fields of gifted and talented education, fine art, elementary education, and student advocacy to develop. The themes and opinions regarding equity, UGT students, and arts education discovered in this study provide salient recommendations for the academic community. </p><p>

A high school art teacher investigates the relationship of his religious beliefs with his notions of what it means to be creative. This Mormon teacher examines his religious and experiential life through self-study, by drawing from autoethnographic and hermeneutic phenomenological strategies. He believes that everyone, including himself and his students, has a creative potential. He also analyzes how his Mormon religion affects his view of creativity and how creativity has affected his behavior as a Mormon. The conclusions he reaches uncover the need for balance between his creative self and his Mormon self and outlines several ways to merge these two aspects of his life.

In order to improve his own teaching practice, the researcher observed and studied student-driven approaches to public art education that not only achieved the aims of the national standards, but also encouraged secondary students' engagement with art in personally relevant ways. Inspired and informed by these observations and studies, the researcher developed a curriculum based more on student concerns, which was studied using action research. The action research approach was driven by experimentation with the curriculum's content as well as its implementation and is fundamentally about improving the researcher's own teaching practice. Hence, the study focuses largely on the researcher's curriculum and teaching. Relationships or correlations between intrinsic motivation, engaging with art in critical ways, and classroom autonomy are explored in the present study. This thesis investigates what students might accomplish when given more autonomy over their projects and learning opportunities. This study focused largely on how a student-driven approach changed the researcher's own feelings and understandings about teaching and learning. The results of the present study lead to a variety of conclusions regarding teaching, curriculum, and student learning.

Elementary educators often lack the confidence and skill to teach visual arts to their students because they received very little, if any, formal training in what is a diverse and complex field of study. Teachers who lack confidence in a subject matter will potentially avoid teaching it. As a result, the early visual arts education of entire classrooms of elementary students can become neglected. Giving elementary educators the time to develop their own artistic process and acknowledging the value of educators' artistic voice can benefit teachers by building personal confidence, generating creative flow, providing knowledge about art, promoting a growth mindset, and boosting their enthusiasm for teaching art. It can also build connections to new and invigorating ideas for integrating art into lessons in their own classrooms. As such, it should create benefit for students. Using a combination of a/r/tography, narrative, and action research methodologies, this study researches the experiences of elementary teachers who choose to participate in artistic professional development opportunities provided by the visual art specialist on the faculty in order to see any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual art as a teaching method. Surveys and interviews document their past experiences with visual art, and their responses prior to and during the proposed courses. Follow up surveys, observations, and interviews document any perceived improvement in perception or confidence they may have in their own artistic abilities and how that has affected their approach to using visual arts as a teaching method in the classroom. This study endeavors to discover two things; 1) best practices in giving elementary educators professional development in visual arts content and methodologies to boost their confidence in their own artistic endeavors, and 2) how visual-art professional development workshops translate into visual-art instruction being integrated into the general classroom setting for elementary aged students.

This doctoral study is grounded in the work of cultural studies and its concern for pedagogy and education. The study investigated a local pedagogical issue— Independent Enquiry Study (IES)—a specific form of social inquiry in the core subject Liberal Studies (LS) in Hong Kong senior secondary schools. It took a designated IES classroom as the point of intervention and as the basis for exploring transformed pedagogical practices in Hong Kong secondary school education. My vantage point of the intervention rested on participant-observation through action research and critical contextual analysis of the action-research site and its relations to the wider social contexts. With a conceptual-analytical framework of drama and the performative, developed from William’ notion of drama and Schechner’s notion of make-belief and make-believe performances, this study examined how the method of drama could mediate a group of senior secondary students’ extended process of inquiry into social issues in contemporary Hong Kong society. Findings reveal that IES in Hong Kong senior secondary schools is almost already performative in nature and IES students were almost already performers eager to present themselves to their teacher-assessors as knowledge builders capable of reflective thinking. In fact, these students subscribed to the positivistic and cynical practices of reproducing existing curricular (and media) discourses and applying them to understanding the social. In performing seeming acts of inquiry, these IES students would re-enact the prescribed curricular (and media) discourses of understanding and reproducing the existing social order. Research findings indicate that drama can be a method of work that supports student inquirers socially as a group. Liminal dramatic spaces and the use of dramatic role and real-life image afforded the participant-students the opportunity to create, experience, and interpret an imaginary world, promoting social inquiry. The spaces helped give shape to students’ diverse roles including those of IES co-informant, member of society, and peer IES learner-assessor. By activating these roles, students momentarily suspended self-other relations and the mechanically induced perceptions of social realities typified by conventional IES method. Drama also functions as a lens. It reflects how the method of IES typifies students’ roles as performers and sustains their dependence on templates of work and on the teachers’ assessment guides. Research findings further show that the performative make-belief schooling practices encompassed the everyday school life of the participating students and their teachers, and indeed subsumed and contained the effects of my dramatic interventions within the action-research context. The IES students at this specific research site were subjected to a process of cynical subject formation. When it comes to social inquiry, these students’ cynical IES practices, including cynical IES reasoning, is partly the result of the teachers’ instructional needs. Hence, dramatic and academic interventions in IES processes will be ineffective if wider school and social contextual elements are not reworked. The study calls for collective efforts from academics and scholars to intervene in all levels of educational practices, with the aim of remaking the vast contextual sweep of teaching and learning in Hong Kong as a way out of these cynical and positivistic inquiry-learning practices.

As a practicing in-service teacher, I designed this qualitative study to explore of the use of culturally relevant curriculum in my junior high art classroom. I used participatory action research to complete this research over the span of two school years. This research allowed me to identify the elements necessary to teach a culturally relevant curriculum, such as teacher background, student-centered teaching and school support. This data is combined with stories of my experiences growing up and stories from the field. I detailed and analyzed community performance art, mask-making and installation art projects for effectiveness and student engagement. Focus groups were a major component of my data collection; I used this data to gain further information from students about their thoughts on what makes an engaging classroom and lesson. Through this study I found a high level of engagement by students. I matched my students engagement with a reciprocal level of emotional input. This study concludes with a call for more research of this kind to be completed by practicing teachers using action research in their classrooms.