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This investigation is a study of the effect of adult influence of the directed and non-directed paintings of preschool children, the relationship of the mental age and the chronological age to the acceptance of suggestions, and the relationship of the mental age and the chronological age to the ability to represent form, Factors considered were the length of enrollment and age of the subjects. The subjects were sixteen preschool children, eight of whom were enrolled in the School of Home Economics Nursery School of the Virginia Polytechnic Institute, Blacksburg, Virginia, and eight enrolled in the Radford College Nursery School, Radford, Virginia. Mental age was determined by the Stanford Binet Intelligence Test Form IM. Each subject was given a directed and a non-directed experience using a toy fur kitten and a directed and a non-directed experience using a dog story. Comments of the subjects were recorded in both sessions. The results of the collected data showed that as the chronological age and mental age increases, the ability to represent form becomes greater. Spontaneous verbal expression was greater in the non-directed experiences than in the directed experiences. The paintings were judged to determine which were directed and non-directed. Scoring by the judges shows that verbal interference is discernible in preschool children’s paintings. / Master of Science

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: While every Botswana national can claim to be a citizen legally within the framework of the modern nation-state, some (minority groups in the main) are perceived by others (among the majority Tswana groups especially), as less authentic nationals or citizens. There is a hierarchy of citizenship fostered by political, economic, social and cultural inequalities, such that it makes some individuals and groups much more able to claim and articulate their rights than others. Ethnic identities seem stronger than ‘national identities’ as they work at the very macro level and on an immediate and daily basis. Thus the multicultural and linguistic diversity of Taung compels us to view every group as heterogeneously unique and important in its own ways, since students become marginalised as a result of individual circumstances, by being members of historically oppressed social groups. The main aim of this study was to explore visual art as a learning platform to negotiate social and cultural meanings and inform understandings of self. A qualitative approach towards the study was considered the most suitable way for conducting the research. An interpretive analysis was used to gain insight into how students made sense of their experiences and the significance of art as a platform to negotiate stigmas and stereotypes in class and school. Using the case study drawn from Taung Junior Secondary School comprising of twelve students from different ethnic groups, two major themes of difference and discrimination were identified. The sub-theme discussed under difference includes sub themes race, ethnicity and nationality, and language; while stereotyping and stigma, feelings of discomfort and feeling outcast, and Othering and marginalisation were discussed under the theme discrimination. My study revealed that art can be an especially effective catalyst for developing a critical awareness of issues of race, immigration, difference, and privilege. Art practices can become a platform for the negotiation and construction of meaning and lobby for removing the historic inequalities and injustices created by a stratified society. For this reason, it is important to understand culture and cultural diversity because culture provides beliefs, values, and the patterns that give meaning and structure to life. It enables individuals within the multiple social groups of which they are a part to function effectively in their social and cultural environments, which are constantly changing. Groups try to maintain social hierarchies and individuals maintain their position within such hierarchies by excluding others, to deny difference and try and enforce homogeneity and reproduce current social relations. As such if forces such as, differences in race, culture, gender, language, and religion are well understood, the students will engage in the process of identifying ways to manage them to shape their own educational practices. / AFRIKAANSE OPSOMMING: Terwyl elke Botswana burger wetlik aanspraak kan maak op burgerskap binne die raamwerk van die moderne volkstaat, word sommige (hoofsaaklik minderheidsgroepe) deur ander (veral Tswana groepe) as minder egte burgers beskou. Daar bestaan ‘n hierargie van burgerskap wat deur politieke, ekonomiese, sosiale en kulturele ongelykhede bevorder word; tot die mate dat sommige individue en groepe meer geredelik hulle regte kan verwoord as ander. Etniese identiteite blyk sterker te wees as ‘nasionale identiteite’ omdat dat dit op makrovlak funksioneer sowel as op ‘n onmiddellike en daaglikse basis. Gevolglik dring die multikulturele en linguistiese diversiteit van Taung ons om elke groep as heterogeen uniek en belangrik op sy eie manier te beskou, aangesien studente gemarginaliseerd raak weens individuele omstandighede, deurdat hulle lede van geskiedkundigonderdrukte sosiale groepe is. Die hoofdoel van hierdie studie was om ondersoek in te stel na die visuele kunste as ‘n leerplatform om oor sosiale en kulturele betekenisse te onderhandel en selfbeskouings toe te lig. Daar is besluit dat ‘n kwalitatiewe benadering tot die studie die mees geskikte manier is om die navorsing uit te voer. ‘n Verklarende analise is gevolg om insig te verkry ten opsigte van hoe studente sin maak uit hulle ervarings en die betekenisvolheid van kuns as ‘n platform om oor stigmas en stereotipes in die klas en skool te onderhandel. Deur van Taung Junior Sekondêre Skool, met twaalf studente van verskillende etniese groepe, as gevallestudie gebruik te maak, is twee hooftemas, nl verskil en diskriminasie, geidentifiseer. Die subtemas wat onder verskil bespreek word, sluit ras, etnisiteit en burgerskap en taal in; terwyl stereotipering en stigma, gevoelens van ongemak en verwerping en ‘Othering’ en marginalisering onder die tema diskriminasie bespreek word. My studie het getoon dat kuns ‘n besonder effektiewe katalisator is vir die ontwikkeling van ‘n kritiese bewustheid ten opsigte van kwessies soos ras, immigrasie, verskil en voorreg. Kunspraktyke kan ‘n platform word vir die onderhandeling en konstruksie van betekenis en selfs druk uitoefen ten opsigte van die opheffing van historiese ongelykhede en ongeregtighede wat deur ‘n gestratifiseerde samelewing geskep is. Dit is vir hierdie rede belangrik om kultuur en kulturele diversiteit te verstaan omdat kultuur die oortuigings, waardes en die patrone voorsien wat betekenis en struktuur aan die lewe gee. Dit gee vir individue binne die verskeie sosiale groepe waarvan hulle deel vorm, die vermoë om effektief in hul sosiale en kulturele omgewings, wat deurlopend verander, te funksioneer. Groepe poog om sosiale hierargië te handhaaf en individue handhaaf op hulle beurt hul posisie binne hierdie hierargië deur ander uit te sluit, verskille te ontken en homogeniteit af te dwing en huidige sosiale verhoudings te herproduseer. Indien daar ‘n goeie begrip is van magte, soos verskille in ras, kultuur, geslag, taal en godsdiens, sal studente betrokke raak by die proses om maniere te identifiseer om dit te bestuur en sodoende hule eie opvoedkundige praktyke te vorm.

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The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling.

The purpose of this study was to discover whether the expanded educational goals for primary level Music and Art in British Columbia's Year 2000 Curriculum are met when the curriculum is integrated and teaching is done through themes. The sample population selected for this study was the lower mainland of British Columbia. 12 school districts participated in this study. Semi-structured interviews were conducted with 17 administrators of Fine Arts Programmes, District Principals or Consultants. The results indicate that educational goals for Music and Art can be achieved when thematic units are used to integrate the curriculum but only when the classroom teacher can be described as a specialist in primary Music and Art, having a personal background in Art and Music, or having a degree as a Fine Arts Major. The curriculum-as-practiced differs considerably from the curriculum-as-planned due to lack of resources, in-service education and program scheduling. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

The purpose of this study was (1) to investigate the changes in sociometric status that resulted when first grade children were taught some art or craft that they could teach to others in their class, (2) to note concomitant behavior changes as reported by their teachers and as noted by their experimenter, and (3) to compare the distribution and increase of decrease of votes received, votes given and mutual attractions in experimental groups with a control group.

Set in New Orleans, Louisiana, this qualitative dissertation study integrated case study, participatory, and ethnographic methods to examine how young Black girls curate joy, resist everyday violences, and promote well-being in their daily lives through the use of photography, Black girl literacies, and collective art making. Given that this country sits on a national inheritance of anti-Blackness and misogyny—both amplified during a global pandemic, Black girls have been implicated in these oppressive structures during precarious times. Contemporary and historical events have demonstrated the precarity of the lives of Black people, especially Black girls. As Kimberlé Crenshaw (2020) shared, “If we are ever truly to protect young Black women like Toying Salau or Breonna Taylor, we must first tell their stories.” This 6-month study inquired how young Black girls (ages 7-9 years old) become/are researchers of their own lives within the exacerbated social conditions of the pandemics of racism, sexism, COVID-19, and natural disasters. The participating Black girls generated content, art, and conversations from their lived experiences, much as Black people have been doing for their counter-narrative and truth telling. Scholars (Fontaine & Luttrell, 2015; Ghiso, 2016; Templeton, 2020) have documented the need for young children to find their voice to share their perspectives within the classroom space as well as examined the generative role of photography to foster inquiry among young children. This participatory study documented how three Black girls in early childhood education engaged with their artistic research through the use of disposable cameras and community art spaces during a time of multilayered and intersectional pandemics in their racial and gendered identities. The intent was for this study to be about and for the girls and their families and their city, with a potential consequence of adding/initiating conversations about the creative journeys needed/possible of remaking (early childhood) spaces for Black girls with Black girls and their families who are living and thriving in complex and unique ways in a society that makes it hard for them to live fully (or with ease) and thrive effortlessly. There were so many hard questions about identity posed to the girls during this study, and their articulations of themselves through words and art show how they are living the answers willfully and courageously.

Elementary education has become increasingly divided into subjects and focused on the demand for high math and reading scores. Consequently, teachers spend less time devoted to science and art instruction. However, teaching art and science is crucial to developing creative and rational thinking, especially for observation and questioning skills. In this study, third grade students attending an urban school in Portland, Oregon received instruction of an art strategy using observational and quantifying drawing techniques. This study examines, "Will an art strategy observing the local environment help students make observations and ask questions?" and "In what ways are student learning and perspectives of science affected by the art strategy?" The independent variable is the art strategy developed for this study. There are three dependent variables: quality of student observations, quality of questions, and themes on student learning and perspectives of science. I predicted students would develop strong observation and questioning skills and that students would find the strategy useful or have an increased interest in science. The art scores were high for relevance and detail, but not for text. There were significant correlations between art scores and questions. Interviews revealed three themes: observations create questions, drawing is helpful and challenging, and students connected to science. By examining science through art, students were engaged and created strong observations and questions. Teachers need to balance unstructured drawing time with scaffolding for optimal results. This study provides an integrated science and art strategy that teachers can use outdoors or adapt for the classroom.

published_or_final_version / abstract / Education / Master / Master of Education