"This study is limited to the problems of and demands made upon the advertising artist in relation to the television medium"--1.

This descriptive study uses a qualitative, content analysis to examine the middle school visual arts and core Texas Essential Knowledge and Skills (TEKS) to determine the potential common learning activities that can be aligned between the two. By performing an alignment of the potential common learning activities present in the middle school visual art TEKS and the middle school core TEKS, I demonstrate that there is a foundation for curriculum integration in the Texas middle school visual arts classroom.

Learning relationships between intergenerational students in an after school art program provided mutual benefits for participants in Denton, Texas. This qualitative case study of older, active adults and elementary students involved in visual art experiences gives insight to a contextual learning environment that fosters lifelong learning and addresses the interpersonal issues of an aging society.

The problem of this study was to determine which of a list of forty-seven art competencies designed by the North Carolina Department of Public Instruction for K-12 art specialists were most essential for early childhood and intermediate elementary classroom teachers. Four-point Likert-type scaled instruments were designed and sent to three types of North Carolina educators: (a) 200 elementary classroom teachers, stratified into two equal subgroups of early childhood and intermediate teachers; (b) 100 K-12 art specialists; and (c) all art teacher educators employed at colleges and universities with state approved programs in art education. These subjects were asked to respond to the relevance of each competency for the elementary classroom teacher.

Orientador: João Cardoso Palma Filho / Banca: Pelópidas Cypriano de Oliveira / Banca: Maria Leila Alves / Resumo: Esta pesquisa estuda a política pública educacional em relação à arte na educação básica, no período compreendido entre a sanção da Lei Federal nº 4024 de 1961, que fixa as Diretrizes e Bases da Educação, até os dias atuais. Desenvolve análise acerca da legislação que disciplina o componente curricular de arte, com a intenção de inferir e de refletir os valores atribuídos à disciplina escolar, assim como as respectivas contextualizações sócio-histórica, política, econômica e cultural. Nesta conjuntura se estudam, além dos Parâmetros Curriculares na esfera Federal, a Proposta Curricular do Estado de São Paulo, denominada São Paulo Faz Escola, vez que está sendo implementada desde o ano de 2008, tem despertado profunda discussão entre os arte-educadores e será atualizada em 2013. Por fim, e não menos importante, se apresenta a análise sobre as entrevistas com professores e demais técnicos da Secretaria de Educação do Estado de São Paulo, com o intuito de compreender o pensamento dos profissionais que, efetivamente, tornam real e concreto o currículo escolar e que estão à frente das discussões, elaboração e manutenção da Proposta Curricular / Abstract: This research studies public policy in relation to art education in basic education during the period between the Federal Law 4024 of 1961, laying down the guidelines of Education, until today. Develops analysis on legislation which regulates the curriculum component of art, with the intention to infer and reflect the values assigned to school discipline, as well as their social and historic, political, economic and cultural contextualization. Against this background we study, beyond the Curriculum Proposal of Federal sphere, Curricular Proposal of the state of São Paulo, called São Paulo Faz Escola, as it is being implemented since 2008, has aroused deep discussion among art educators and will be updated in 2013. At last, and so important, it presents the analysis of interviews with teachers and other technicians from Department of Education Sao Paulo State, in order to understand the thinking of professionals who actually make real and concrete school curriculum and that are ahead of the discussions, preparation and maintenance of the Proposed Curriculum / Mestre

Orientador: João Cardoso Palma Filho / Banca: Káthya Maria Ayres de Godoy / Banca: Maria Leila Alves / Resumo: A música é uma das formas de linguagem presentes na vida humana, desde a préhistória. Vários são os estudos a respeito da origem dos efeitos sonoros sobre o ser humano, sabe-se que o homem fazia música em seus rituais de caça e adoração. Objetivo: pesquisar como o ensino de História da Arte com o recurso da musicalidade com as crianças influencia na aprendizagem significativa. Método: Pesquisa descritiva, qualitativa realizada com as séries iniciais de uma escola da rede privada de ensino da cidade de São Paulo, em 2008. Resultados: Pelo estudo realizado, percebeu-se a importância da atuação do professor que busca provocar nos alunos um entendimento sobre a área de conhecimento, baseada nas experiências vividas em salas de aula; e esta atuação distingue-o do professor tradicional; e os alunos não precisam ter um conhecimento prévio da obra de Arte, mas, é importante que a vivência seja provocada para que, além da Experiência, tenham uma vivência sonora e visual, para que haja a aprendizagem em Arte / Abstract: Music is one of the language forms that have been present in human life since Prehistoric times. There are several studies about the origin of the sound effects on human beings; it is known that man created music in their hunting rituals and worship. Objective: To investigate how musical resources added to Art History teaching influences students' meaningful learning. Method: A descriptive, qualitative study was conducted with the initial series of a private school in the city of Sao Paulo in 2008. Results: Through this research, based on classroom experiences, it was observed that the performance of the teacher who motivates students towards significant learning is of great importance; and that this practice differs from traditional practices; that students do not necessarily have to possess a prior knowledge of a work of Art, but it is important to activate a connection of it to sounds and visuals stimuli, so that besides the Experience, they can have an auditory and visual involvement, and thus, learn Art / Mestre

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As art historians uncover the many sources and catalysts that have contributed to the emergence of black contemporary art in South Africa, one of the principal influences is that derived from the Christian mission churches and breakaway separatist groups - the African Independent Churches (AICs). Histories of African art have failed adequately to consider the art that emerged from these contexts, regarding it perhaps as too coerced and distinctive – merely religious art subject to the rigours of liturgical or proselytizing function. The purpose of this dissertation is to foreground this art and its position in the development of both pioneer and contemporary South African art and to identify the many features, both stylistic and thematic, which distinguish this work. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 2003.

This report presents the findings of a case study excavating the event of the ‘Critique’ (crit), the formative assessment method within a Fine Art Studio Practice curriculum. Arguments informed by critical postmodernism, education theories and contemporary art criticism are utilised to construct a dialectic of higher education, contemporary art and fine art studio practice. An emphasis is placed on the importance of agency, expressed through intentionality and critical thinking, with a recognition of the relationship between ‘the self’ and ‘the other’. Using critical discourse analysis, the disjunctions between the espoused and practiced curriculum are explored. The researcher analyses how the assessment practices of the case studied are influenced by unexamined agentic factors, such as inter-departmental relations, lecturers’ assumptions and prior learning, and structural determinants, such as the medium-specific Bachelor of Fine Art degree structure and prevailing artistic traditions. The research findings indicate that these are underpinned by tensions between two orientations, the espoused curriculum’s discourse-interest informed by critical theory, and the theory-in-use. The latter is shown to have unexamined modernist leanings towards formalism and a master-apprentice relationship between lecturer and students, which encourages reproduction rather than critical, creative thinking. The dominant discourses in the case studied construct a negative dialectic of the artist-student that can be seen to deny student agency and authorial responsibility. Findings suggest that students experience this as alienating, to the extent that to preserve their sense of self, they adopted surface and strategic approaches to learning. An argument is made for lecturers’ critically reflexive engagement with their teaching practice, and thereby to model ethical relationships between ‘self’ and ‘other’ during ‘crits’. In addition, emphasis is placed on how assessment practices should be more aligned with the espoused curriculum, so that the importance of a reflexive relationship between form and content, process and product, intentionality and interpretation is acknowledged.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-28Bitstream added on 2014-06-13T20:48:59Z : No. of bitstreams: 1 carvalho_lc_me_ia.pdf: 1197018 bytes, checksum: 7217f62d84ec6b5d89db1807b69617b2 (MD5) / Universidade Estadual Paulista (UNESP) / Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi – Renascer, Batizado e Morte –, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais / This dissertation is to introduce “Grupo de Danças Brasileiras Gracinha”, and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center – “Centro de Convivência Gracinha”, which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being “Bumba-Meu-Boi” the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of “Bumba-Meu-Boi” – Rebirth, Baptism, and Death –, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered “Grupo de Danças Brasileiras Gracinha”´s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects