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The intent of this study is to provide a comparison study of art education philosophies, methods, and practices in Bangladeshi schools to schools in the United States. This is a descriptive study with an intensive examination of curriculum materials and textbooks from the education system in Bangladesh as well as narrative based on my past experiences as a student in Bangladeshi primary schools. After translating and analyzing Bangladeshi middle school curriculum, I compared and contrasted art education philosophies, objectives and practices in Bangladesh with those in the United States.

This study utilized a survey of Virginia public high school teachers to examine how teachers understand multicultural education, how frequently they teach from this perspective, what cultures are represented, what teaching strategies they use, and what, if any incentives would encourage them to teach in this way more frequently. Through analysis of the findings, three major themes emerged which describe participants’ views of the purpose of multicultural education. These themes are “exposure” to other cultures, “understanding” of the way cultures interact and of the context surrounding a culture’s art, and promoting “equity” in the classroom environment and by encouraging students to view other cultures with greater tolerance. The findings of this study were presented at the 2010 VAEA conference and to Virginia art specialists.

Teacher planning is a necessary process by which educators establish, facilitate, monitor, and evaluate lessons and learning within their classroom. For art educators, sketchbooks have been a foundational pillar in art curricula. The sketchbook has a lengthy legacy of yielding common, structured assignments. However, recent considerations have reframed sketchbook practices. Contemporary analysis has produced a pedagogical shift in approaches to sketchbooks and planning for sketchbook inclusion in the classroom. The sketch-plan book offers art teachers a streamlined resource to collect and maintain lesson ideas and inclusions, track on-going lessons, and plan for future teaching and learning. The purpose of this work is to explore an art teacher’s sketch-plan book usage as a resource and tool in the secondary art room.

abstract: The following study is about the importance of including global art and art history in a bilingual/bicultural art classroom. The study was performed with twelve Navajo art students in a predominately Navajo high school located in a small urban town off the Navajo Reservation. Navajo students selected traditional and contemporary artworks they were curious to learn more about from four global cultures, familiar (Navajo and European) and unfamiliar (Maori and Benin). They also responded to art criticism questions and identified reasons they were curious about the artworks they selected. Students were curious about familiar (Navajo and European) artworks more than unfamiliar artworks (Maori and Benin). Of all student responses, 69% focused on the artwork selected; 16% focused on meaning and expression, and 15% focused on the artist. This study concludes by suggesting that there should be a middle ground about what to teach to Navajo children. I suggest that art education should include other cultural information within the Navajo philosophy of education. / Dissertation/Thesis / Masters Thesis Art 2015

abstract: Benefits and Challenges of Collaboration and Autonomy in a High School Beginning Art Class In the twenty-first century students are used to communicating. Using social media they often collaborate with peers. Despite this students may prefer to work independently rather than collaborating with fellow students in art class. Also, collaboration has become more common with twenty-first century artists. This study addresses the possible disconnect between the popular culture of today's art students' preference for the traditional independent autonomous practices in the art classroom, and the collaborative practice of many contemporary artists. The purpose of this study is to investigate how working collaboratively or working autonomously affects the artworks and oral and written responses about their artwork of high school beginning art students. I used a mix of quantitative and qualitative methods to gather data. Data for this study are the artworks made by the participants, idea starter sheets, participant written reflections, their oral answers to interview questions, and my observations of the classes. The participants in this study are students from four intact classrooms of high school beginning art. This study produced multiple findings, such as: The artworks revealed differences between collaborative classes and autonomous classes. Additionally, no differences were revealed from the written and oral responses made by the participants in the two classes. I conclude that, when given the opportunity to collaborate or work autonomously, high school beginning art students in this study made different artworks but made no different oral and written responses. / Dissertation/Thesis / M.A. Art 2014

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