University-based teacher educators’ first three years on the job are often imbued with tension, as they must renegotiate their professional identities and pedagogical philosophies in relation to ambiguous and sometimes conflicting expectations of what they should do and stand for in this role. As role models for aspiring art teachers, art teacher educators have a powerful influence on their pre-service students’ views of teaching, and on their emergent professional dispositions. However, despite the moral and intellectual significance of their work, and the diversity of their identities and work contexts, research on this population is limited and does not reflect current demographics in the field. While existing studies suggest some of the tensions that art teacher educators—both new and veteran—face on the job, research has not yet explored how new faculty members, specifically, experience their earliest years in the role nor how they learn to develop personally authentic art teacher education pedagogy. This qualitative multi-case study responds to these gaps in the literature, and to the understanding that new knowledge-for-practice is often generated within spaces of creative tension such as career transition. The study participants were eight full-time art education faculty members with less than three years in the role. Individual and cross-case analysis of data collected through semi-structured interviews, qualitative questionnaires, and reflective tasks, revealed that participants’ tensions were predominantly influenced by discrepancies between (1) their established occupational roles/identities and practices, and expectations placed upon them in the art teacher educator role that they had not fully anticipated, and (2) their own, and others’ art-education-related (ideological) values. Most of the participants identified strongly with discipline-specific values (e.g., being grounded in activism and arts-informed social justice). These values functioned as core elements of their professional identities and of their teaching, research, and scholarship. However, in some cases, there were difficulties in translating these values into effective art teacher education pedagogical content knowledge. The data analysis suggested that through reflecting on tensions, participants gained increased professional self-understanding and keener awareness of the forces that enable or constrain the enactment of their personal pedagogical values. Additionally, the data suggest that greater intentional preparation and support for this role (particularly mentorship that validates their established identities and backgrounds) prior to and during the early years, could greatly benefit art teacher educators’ adjustments into the academy and facilitate their building of pedagogical content knowledge for this role.

This study is an historical-philosophical analysis of art education in elementary, secondary, and normal schools in the United States from 1883 to 1910 as revealed through the Journal of Proceedings and Addresses of the National Education Association. Its purposes are to define and describe the role, practices, and status of art education as related to or influenced by selected philosophies, psychologies, theories of learning, and research, along with other prevalent factors such as the scientific, industrial movements, and mores of the period. Art education was found in an admitted state of infancy as the period began. 1883 marked its initial separation from the Manual Training Department and first recognition as an entity. This study of its status traces growth and improvement to a point of tentative public acceptance, and re-attachment of the Art Department to the Manual Training Department as an equal partner. Evidence presented seemed to indicate that progress had been made by art education in several important ways. School administrators had recognized that art did have a legitimate role in education, and a national organization had been formed to act as a forum. A uniform course of study had been presented, and current research in mental development had been considered. The scope of art instruction had been broadened to better serve educational and practical needs. Facilities had been improved, and there was a growing number of trained teachers and supervisors.

Inspired by the Municipal preprimary schools of Reggio Emilia, Italy, two art studio teachers and a researcher have explored experiences and meaning in the atelier. When studio teachers document children's thinking through digital photographs. transcribed audio tapes, quotations of a child's verbal thoughts, and copies of their work, an indescribable moment in teacher thinking interweaves with the child's learning, As teachers capture children's representations, investigate, interpret, and share their ideas with colleagues and community-an underlying question emerges. What are studio teachers' experiences o/teaching-learning in the atelier as they utilize documentation, collaboration, and reflection as a way to inform their practices? From this question, reader and researcher start a journey together into a six-month phenomenological study of studio teaching experiences. As a core member in the teaching team, the studio teacher resides in the atelier to bring teaching and learning together in a profound way, to bridge classroom experiences with representative arts, and to facilitate the community's learning about teaching-learning. The methods used to inform this study include observations, in-depth interviews, electronic journaling, description, photos, and interpretation of studio work. Overall, this study's methods inform the phenomenological research and construct an in-depth look at experiences in the artist's studio. The results of this research are retold through narratives focusing on experiences and meaning-making in the studios. Stories such as living with the cracked egg; isolation in the studio: gifts for others; rough stones polishing one another; and many others, utilize photographs to enhance meaning through picturesque artifacts. Essential themes, conclusions, and implications appear in the webbing of experiences and are explored in the final chapter. The themes include conceptual frameworks such as life eats entropy, serendipity and synergy and more. Conclusions are drawn and findings are made connecting studio experiences to participant voice, disequilibrium, listening, engaging, stepping back, and slowing time; demonstrating documentation as learning, revisiting, representation, and manageability; making meaning of collaboration as struggle, communication, and reconstruction; and reflecting back as purposeful and an act of teaching-learning. Overall, this research study exposes techniques, ideas, and wonderings from two studio teachers' and a researcher's experiences in the atelier.

The purpose of this study was to demonstrate the feasibility of developing an art curriculum in Qatar, using the principles of the DBAE curriculum in conjunction with technology. Many of the challenges facing art educators and the art curriculum in Qatar can be approached through the multimedia applications of DBAE, which will provide instructors and students with an opportunity to more readily interact with visual art and to discover its educational relevance. Additionally, this study attempted to discover whether teachers are engaged in implementing technology in the art classroom and whether they are given the opportunity to engage in art to their satisfaction.

The purpose of the study was to determine a definitive description of "artistic giftedness." A questionnaire was sent to Texas art teachers to find what characteristics they attribute to the artistically gifted, how they determine this, and what program goals they set. The wide variety of survey responses indicates the diversity of artistically gifted individuals. The high rating on all items indicates that all could be used as identifiers (higher rated characteristics identifying a larger population, lower rated ones, a smaller population). Responses to items dealing with identification indicate nontest methods to be most widely used. No connection was found between goals chosen and either characteristics or methods.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The tensions I experienced as a Stellenbosch University student made me curious to delve into potential exchanges between the boundaries of worthwhile art and valid education. I explored the capacity of interactive artworks to contribute to realising the university‟s institutional vision. This research venture seeks to inspire innovative approaches to education that can potentially decrease discrepancies between institutional policy and practice. The primary question examines the nature and effect of students‟ responses to an interactive artwork placed on the Stellenbosch University campus. These reactions subtly exposed the particularity of the Stellenbosch University context and indicated aspects of art education in the expanded field that could aid higher education institutions in fulfilling their transformative role. An anti-colonial paradigm guided me through a crucial attentiveness of the power issues embedded in knowledge production, validation and dissemination. The reflexive process of qualitative research permitted a captivating interdisciplinary landscape that spans from policy documents to philosophical enquiries. I studied the lived experiences of students, lecturers and staff members at Stellenbosch University through individual and group interviews. A case study research design was employed to use the patterns picked up in these single cases to lead me toward more entrenched underlying issues and attitudes. Nuanced research findings were the result of the anti-colonial prism that caused me to place equal value on difference and coherence in my enquiry. Visual metaphors such as my interactive public artwork translate philosophical ideas into practice and communicate these ideas right to the heart. This is how art can bridge the divide between in- and out-of-class education and aid the university in preparing students to become purposeful citizens. Not only does this project signify the university‟s institutional transformation, but it also adds to the transformative impact of the university on all its stakeholders; a necessary process that enables greater social impact. Belonging is a crucial aspect in this regard, because it enables students to internalise the knowledge acquired through higher education. And one of the key underlying messages of higher education is that graduates are citizens that should contribute their skills and knowledge to positively enhance society. The interview feedback revealed that the artwork was successful in guiding students‟ thoughts and conversations to form new knowledge because it was an honest space where people could articulate their opinions. Interdisciplinary learning is a powerful tool that enriches curricula and increases the impact of university education. The university needs to allow students to belong and then develop responsibility and empathy toward societal needs, and it appears that the artwork roused some of these sentiments. In order to become an institution that launches the thought leaders of the future, Stellenbosch University needs to harness all collaborators that collectively contribute to an integrated understanding of life and an expanded appreciation of knowledge. / AFRIKAANSE OPSOMMING: Die spanning wat ek as „n Stellenbosch Universiteit‟s student ervaar het, het my nuuskierig gemaak om dieper in die moontlike wisselwerking tussen die grense van betekenisvolle kuns en ware opvoeding te delf. Tydens my studie het ek die vermoë van interaktiewe kunswerke om tot die verwesenliking van die universiteit se institusionele visie by te dra, ondersoek. Hierdie navorsing poog om innoverende benaderings tot opvoeding te soek wat die gapings tussen instititionele beleid en praktyk potensieël kan verminder. Die primêre vraag analiseer die aard en effek van studente se reaksies op „n interaktiewe kunswerk wat op die kampus van die Stellenbosch Universiteit geplaas was. Hierdie reaksies het die besonderse konteks van die Stellenbosch Universiteit blootgestel. Hierdeur is aspekte van kunsonderrig in die uitgebreide veld aangedui, wat moontlik hoër onderwys institute in hulle transformatiewe rol behulpsaam kan wees. „n Anti-koloniale paradigma het my deur „n kritieke bewustheid van die magsstryd waarin kennisvorming, geldigheid en verspreiding gewikkel is, begelei. Die terugskouende proses van kwalitatiewe navorsing het „n fassinerende interdissiplinêre landskap toegelaat wat strek vanaf beleidsdokumente tot filosofiese ondersoeke. Die ervaring van die studente, lektore en personeel van die Stellenbosch Universiteit is deur onderhoudsvoering met individue en groepe bestudeer. „n Gevallestudie navorsingsontwerp is gebruik om patrone in hierdie enkel gevalle in te span om versteekte onderliggende vraagstukke te ontbloot. Genuanseerde navorsings bevindings is na vore gebring deur anti-koloniale prisma wat my gelei het om gelyke waarde op beide verskille en ooreenkomste te plaas. Visuele metafore, soos my interaktiewe publieke kunswerk, het filosofiese idees in praktyk oorgeplaas. Dit is hoe hierdie idees reguit na die hart van die deelnemer spreek. Kuns kan so die skeiding tussen binne- en buite-klastyd onderrig oorbrug en die universiteit ondersteun in hul poging om studente as doelgerigte landsburgers voor te berei. Hierdie projek dui terselfdetyd op die universiteit se intitusionele transformasie nie en op die transformatiewe impak van die universiteit op al sy belangegroepe. Om aan „n groep te behoort „n belangrike aspek omdat dit studente in staat stel om die kennis, wat hulle deur hoër onderwys verkry het, te internaliseer. Dit sluit by een van die onderliggende sleutelboodskappe van hoër onderwys aan naamlik dat graduandi landsburgers is wat hulle vaardighede en kennis tot positiewe uitbouing van die samelewing moet aanwend. Die terugvoer van die onderhoude weerspieël dat die kunswerk suksesvol was in die begeleiding van studente se gedagtes en gesprekke, om nuwe kennis te vorm. Dit is moontlik gemaak deur die eerlike spasie waarin die mense opinies kon lig. Inter-dissiplinêre kennisverryking is „n kragtige werktuig wat kurrikulums versterk en wat die impak van universiteitsonderrig verbreed. Die universiteit behoort studente te laat voel asof hulle behoort en om verantwoordelikheid en empatie vir die samelewing se behoeftes by hulle te kweek. Dit blyk dat hierdie kunswerk sekere van daardie sentimente na die oppervlak gebring het. Vir Stellenbosch Universiteit om a instelling te word wat denkleiers van die toekoms vorm, verg dat al die deelnemers wat kollektief bydra tot „n geïntegreerde verstaan van die lewe uitbrie op die waardering van kennis.

published_or_final_version / Education / Master / Master of Science in Information Technology in Education

published_or_final_version / Education / Master / Master of Education

Art educators have expressed the need for art teachers with more qualifications and for more evidence of creativity and successful art experience. The purpose of this project is to illustrate the importance of the interrelationship between the action-oriented sensory capacities of the artist and the verbal-analytical capacities of the teacher, and in so doing to develop a vehicle through which an art teacher might demonstrate the necessary proficiency in at least one medium within the fine arts. More specifically, the objective of the project is the development of an art exhibit to validate the competency of the artist-teacher in the medium of oil painting. The philosophy of every art teacher should be based on art as experience, since valid creative work evolves from sensitive experience. An art teacher must be able to communicate with a student verbally; worlds are one relationship to the creative experience, the art forms another. Much precise thought can go on in words, but ultimately it can only be meaningful for the teacher and student, in turn, if both have experienced art. The teacher should be a creative artist in his own right. He should know from “doing” the experience he is to teach. For the purpose of the study, the literature was divided into five categories: 1) philosophical and psychological, 2) definitive information, 3) historical, 4) present attitudes, and 5) implications for the future. The evidence in the literature indicated that art educators strongly favor the idea that the teacher should be a creative artist in his own right, that he should be skilled in at least one major productive area of art. The vehicle developed in this project was an art exhibit containing fifteen oil paintings. The University of North Florida Library Exhibit Area was chosen as the site of the display which was scheduled from July 18-29, 1977. The show was accompanied by a reception; a printed brochure and invitation described the project, the background of the artist, and contained a list of the paintings. The project contains a complete photographic record of all works in the exhibit. An evaluation of the work was undertaken by a group of five qualified judges in the field of fine arts and art education. At the close of the exhibit the responses to the evaluation were tabulated and a correlation was made on the ratings of five paintings chosen at random from the show.

The purposes of this study were as follows: 1. To measure selected junior high school students' creativity in art. 2. To determine the relationship between the following factors and the degree and kind of creativeness in art demonstrated by the subjects involved: ethnic group, sex, social class, community size, previous art training, cultural interest in the home and community.