The purpose of the study was to develop, implement, and evaluate a learning center for arts education in a third grade classroom. Specifically, the learning center was designed to increase opportunities for arts education in an elementary classroom, to emphasize the unity of the arts by offering parallel instruction in several art media, and to provide a resource for arts instruction which would not require direct teacher supervision, Arts included in the study were visual art, music, and movement.

Thesis (M.F.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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Research by educators in lifelong learning experiences is one of the most important fields in American education today. Even though adults are usually self-directed and will acquire knowledge or will learn skills to solve immediate problems, they usually need a facilitator and a variety of learning experiences to meet their needs and abilities. One of the learning experiences adults will be seeking is through art museums. Consequently, museums need to focus on how to make museum education more significant for adults by teaching them how to learn in museums. The goal of this exploratory study was to analyze any interesting variables in the effectiveness of three dissimilar treatments, using different interpretive techniques and symbol systems, on adults' understanding of the subject matter, content and style of landscapes. This study was developed around a specific exhibition, "A Return to Arcadia: Nineteenth Century Berkshire County Landscapes." In order to evaluate the effectiveness of the three different learning experiences through different symbol systems, eighty-seven adults were divided into three groups. One group was given a straight, formal slide lecture on the exhibition. The second group participated in an informal gallery presentation in the exhibition. The methodology for this presentation was the discussion/inquiry method. The third group was given a double exposure to the exhibition. The slide lecture was presented as orientation before the participants were exposed to the landscapes in the gallery with the discussion/inquiry method. Each of the three groups was given a post slide test, open-ended questions to answer, and an interview immediately after its particular treatment. The findings from the slide post-test, open-ended questions and interviews seem to indicate that art presented in different symbol systems, environments and interpretive techniques does convey different meaning and concepts. The implication of this exploratory study is that definitive research, using the scientific and naturalistic paradigms, should be completed to investigate the significance of the findings from this study.

The dissertation proposes a new model of the artist in society--the artist-educator. This model is explored by investigating the lives and work of ten women artists and writers, who are accomplished and innovative creators as well as facilitators of the creativity of others, especially individuals and groups considered marginal by our society. These artists represent a new model of the artist-educator because of (1) how they view the creative process, (2) their social/political vision, (3) their approaches to teaching, and (4) the force of their impact on others. First, they view the creative process as one which calls for boundary breaking; i.e., taking down distinctions between one's art and one's life, between the uses and functions of various art media, between themselves and other artists, between artists and their audiences. These artists have a social vision: they see themselves as part of a larger whole, a diverse society, and at the same time, they see themselves as artists somewhere near the edge of their particular artistic or literary worlds, not in the mainstream. They also see themselves as change agents who use their art as a means of transformation. In their teaching and facilitating work they are committed to cultural diversity and intend to call forth the voices of those not previously heard from. They tend to believe that everyone is creative, and to assume that one's creativity is linked to one's wholeness and development as a person. They facilitate creativity in women in prison, people in nursing homes, persons with AIDS, the old, the homeless, drug and alcohol abusing teenagers, mentally retarded adults, and others. As artists and educators equally, they represent a new paradigm for who the artist in society might be, and they require that we broaden out the definition of creativity beyond a mysterious process which only a few genuises and artists possess. The artist is to be among us, because we are all capable of creating, all able to speak in the voices of our diverse cultural groups.

Since the 1970's collaborations, partnerships, and networks between schools and universities have been increasing. As Goodlad points out we no longer have to justify the value of school/university partnerships, but it is the descriptions of the processes that are lacking (Goodlad in Sirotnik & Goodlad, 1988). I have studied a partnership among a public elementary school, a university school of education, and two cultural institutions. The focus of the partnership was on the arts as the entry point to broader and deeper approaches to teaching and learning. A review of literature related to school/university partnerships and artists in the schools and the integration of the arts in the curriculum provides a foundation for this study. The case study design using in-depth and informal interviewing and participant observation was developed from a review of the nature of the phenomena to be studied. This inquiry was guided by the question: What factors, circumstances or environments within the partnership process foster the development of all participants as learners? The study examines the planning year and one year of implementation. During the planning year of this study I focused on an overview of the development of the three year art partnership plan and the efforts to lay the foundation for implementation of the plan. A description of the work with artists, university consultant, and the Cultural Education Collaborative's summer institute in the arts serves to show how that foundation was built. During the year of implementation the study focuses on the process of two pilot teachers as they interfaced with the components of the partnership program: the infusion of the arts in the curriculum, modeled by artists in residence, and experiential learning opportunities aided by interns and a consultant from the University School of Education partner. Conclusions drawn from the data indicate that the school community was energized by the involvement of community resources such as artists, consultants, interns et al. when their involvement was relevant to the interests and stated goals of the participants. This school/university (school of education) partnership provided a way for teachers and interns to reflect on their practice at their own pace. When participants come together open to ideas different from their own, and open to experiences new to them, personal and professional growth occurred. The arts were a vehicle for getting in touch with their creative potential. Recommendations for further research are presented.

This study is devoted to investigating links between the mental processes of visual composition and those of linguistic composition. The study has two components, each of which compares visual/verbal pairs. First is a comparison of visual and verbal features in picture books created by students. These books are alphabet books created in the tradition of "ABC" books for children. They were produced using standard desk-top publishing techniques. Because desk-top publishing involves text and graphics, it is an environment in which an individual's skill with both sentences and pictures may be studied. Second is a set of case studies of students' visual and linguistic compositions. These compositions have been constructed within the constraints of computer based microworlds designed by the researcher. (Computers are compositional tools with a new generality. They let the two media meet on common ground.) This study accentuates the importance of the computer as a tool for generalized composition, perhaps the most important role of computers in education.

The purpose of this dissertation is to explore the integration of the computer into the art classroom with specific intent to provide teacher training and to determine the need for standards in curriculum development. The following questions will be addressed: What (if any) direction should be followed to implement a systematic curriculum methodology for computer graphics? What are we currently doing to meet this need? How are we training our art educators to integrate the computer for art and design, and what do these teachers need in the way of background? What considerations become relevant to the classroom art teacher in the logistical procedures of setting up labs or utilizing pre-existing labs in a school district? The conclusions of this study were based on results from both qualitative and quantitative investigations. The quantitative results were obtained by sending out close-ended questionnaires for self-completion, by mail. The sample included 276 public school districts. The demographic results reviewed include statistical data which is displayed in chart and graphed formats. The qualitative results were obtained by creating and then implementing a teacher training tutorial program for 10 teachers in respective school districts. The results of pre- and post-assessment questionnaires were evaluated regarding each teacher's documented variances in attitudes, performances, acquired skills, knowledge, and opinions. While carrying out part two of the study, I intended to promote literacy, awareness, and understanding to the participating art teachers on the potential usage of the computer for art in the art classroom. If teachers have a stronger foundation and confidence in this area, they will more effectively integrate this tool into the art curriculum. Such grounding will hopefully give students in art the opportunity to use computers more efficiently and, it will create an awareness of the inherent possibilities this tool offers at an early stage.

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