The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)

Orientador: Marianna Francisca Martins Monteiro / Banca: Pedro Rodolpho Jungers Abib / Banca: Alberto Tsuyoshi Ikeda / Resumo: 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 / Abstract: 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 / Mestre

Orientador: Claudia Valladão de Matos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T08:15:35Z (GMT). No. of bitstreams: 1 Formico_MarcelaRegina_M.pdf: 13487393 bytes, checksum: 919b96d1f4b3895551f708c721d3b616 (MD5) Previous issue date: 2012 / Resumo: Este trabalho apresenta uma contribuição para a análise do jogo de relações que se estabeleceu entre a pintura produzida no contexto brasileiro do século XIX e a produção internacional, especialmente francesa, centrando-nos na trajetória artística do pintor Oscar Pereira da Silva. A trajetória desse artista foi marcada por diversas idas e vindas entre Brasil e França, fazendo do artista um verdadeiro tradutor do sistema artístico francês para o contexto brasileiro. Desta forma, a partir da escolha da obra, "Escrava Romana", como "chave-mestra" para o desenvolvimento do debate em questão que se baseia o fluxo argumentativo da pesquisa. Razão que é justificável por esta tela representar um exemplar do primor técnico do estudo acadêmico do pintor brasileiro durante sua estádia com os mestres franceses, principalmente o pintor Jean- Léon Gérôme, que possui uma gama de obras que versam a temática explorada pelo objeto central de estudo. O segundo e último motivo se resguarda por se tratar de uma obra de grande impacto visual que compõe a galeria da Pinacoteca do Estado de São Paulo e ser um belíssimo representante da mais clássica das atividades do currículo da arte acadêmica do século XIX, a representação do nu / Abstract: This work presents a contribution for the relation's analysis between the masterpieces made inside the Brazilian's context on the 19th century and the international art's production, specially in France, focussing in the artistic path of the painter Oscar Pereira da Silva. The artist's life had a closer relation with France, making the painter a true translator of the French artistic model to Brazil. By choosing a particular painting as a methodological matter, the "Escrava Romana" became the "master key" for the research. To justify, this canvas is a perfect model of academic studies during his learning period with the French masters, specially Jean-Léon Gérôme, artist who developed a great number of canvas with the same thematic. The second and last reason is the great visual impact that this master-piece represents inside the gallery of Pinacoteca do Estado de São Paulo and for being a beautiful sample of the most classic discipline in the learning process at École des Beaux Arts and the academic art in general, the representation of the nude / Mestrado / Mestra em Artes Visuais

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Text in English / The study is a sociolinguistic exploration of the pedagogical value of Shona children’s oral art forms on a changing cultural terrain to situate them within contemporary classroom pedagogy. Critical Discourse Analysis, Afrocentricity and Constructivism are theories that informed the analysis of the Shona children’s oral art forms. The study is conducted within the qualitative paradigm as a descriptive study. Data was gathered through observartions, standardised open-ended interviews, focus group interviews, questionnaires and document analysis. The study established that Shona children’s oral art forms have responded positively to the changing environment in which they are performed in terms of form and content. While this is a positive development, this should be done with caution to ensure that indigenous knowledge systems that are the backbone of African societies are not abused on the global stage. The study has also affirmed that Shona children’s oral art forms are useful pedagogical tools for information dissemination and knowledge creation. It is also evident from the findings that the oral art forms are an embodiment of human factor values that enhance development education. Findings from this study established that Shona children’s oral art forms are reservoirs of values and norms cherished by the Shona as a people and can be reconstructed for teaching various concepts across the primary school curriculum. Evident from this study is that both teachers and learners are knowledgeable of the various traditional Shona children’s oral art forms although new creations are coined to adapt to the changing environment. This shows that the traditional forms are able to withstand the challenges of globalisation, and this resilience is a positive development since it creates an opportunity for researchers to document these in their unadulterated form for posterity. Since findings from the study highlighted threats to the children’s oral art forms due to the advent of technology and globalisation, there is need to act so that they are not pushed to the periphery as was the case during the colonial era. There is need for concerted efforts at packaging them and meaningful infusion of these into all aspects of children’s education for visibility within the changing environment to guard against their demise in an era of globalisation which may impact negatively on the Shona culture. / Linguistics and Modern Languages / Ph. D.(Languages, Linguistics and Literature)

This research examines the efficacy, if any, of the Music and Visual Arts (MVA) program in improving the English vocabulary development of first grade Thai students. The researcher developed the Vocabulary Recognition Assessment (VRA) as a measure of English vocabulary development. It employs the accuracy and rapidity method of word recognition as a measurement of English language development in Thai children. Forty first grade Thai students in a Bangkok elementary school participated in the study. Participants were divided equally between an experimental group and a control group. During a nine-week period, students in the experimental group were instructed with the MVA strategy, while students in the control group were taught with the Visual Arts (VA) strategy. Paired sample t-test, ANOVA, and ANCOVA were used to analyze data from the VRA, to compare the pre-test and the post-test in terms of accuracy scores and rapidity scores of the control group and the experimental group. Data revealed that students instructed with the MVA strategy improved their English vocabulary development in terms of accuracy of word recognition significantly more than students taught English using the VA strategy. No significant difference was found between the MVA strategy and the VA strategy in terms of rapidity of word recognition. The MVA strategy could be a useful strategy for Thai early childhood teachers to use in helping Thai children learn English vocabulary.

This study seeks to answer the overarching question of how the use of a digitally delivered arts curriculum, including a virtual museum environment, affects teacher's perceptions of curriculum integration and whether they believe it is successful in the classroom. This study is based on the analysis of archival data collected during a pilot study that was conducted in the fall of 2016 and spring of 2017. This pilot study used a qualitative, descriptive approach and included the use of surveys, interviews, focus groups, and observations. The main focus of this study was on the experiences of a selection of educators who took part in the pilot study and summer training sessions to determine the successes and challenges they faced as they sought to the implement the experimental digitally delivered arts curriculum. The results of the study should improve the field's understanding of how virtual environments and technology can influence teacher experiences and perceptions of their potential value for learning as they continue to take hold in public schools worldwide.

The general purpose of this investigation is to examine the values of print making as compared with drawing and painting in their respective relationships as a part of the junior-high-school art program. The specific purposes of the investigation are: 1. To determine the values which are common to both the print-making arts and the drawing-painting arts. 2. To discover the values which are unique in the print-making arts. 3. To determine which of the print-making processes belong in the junior high school. 4. To recommend the grade placement and limitations of print-making for the junior high school. A conservative general conclusion, based upon objective evidence, can safely be drawn to the effect that in all phases of the learning experiences print making was found to be as valuable as painting and drawing. Its values were compared with respect to specific art development, to general educational growth, to socialization, and to character training.

在香港的中學教育，考試主導文化乃主流，相比學科學習，非學科學習一直處於次等位置，尤以高中為甚。自二零零九年開始，其他學習經歷實施成為新高中課程中一個正規的必修部分，它包羅了五個不同非學科學習範疇，所有高中學生必需參加每一範疇的活動。鼓吹全人發展的擁護者對其他學習經歷產生莫大希冀，期望學生能從中發展均衡人生，並培養出難以從書本中學習、卻需在真實的學習經歷上體會到的正確價值觀和態度。博士生研究員進行了這項質化個案研究，以了解香港學校實施了甚麼其他學習經歷、怎樣、並為何推行。當中審視兩間學校其他學習經歷實施情況，和其中因由的相互影響過程。在批判分析並綜合校長及教師訪問，加上檢視文件後，本研究對有效實施其他學習經歷或類似的教育計畫提出了建議。 / 以 Fullan (2001a) 和Leithwood (1981) 的理論為分析框架，是次研究結果顯示政府由上而下推出的其他學習經歷已改變了香港高中學生的非學科學習。學校實施其他學習經歷得到的主要成果，乃達致了教育局在五個範疇的學習時間要求，同時，當非學科學習以具結構、並規定的其他學習經歷課程出現時，校長、教師和學生便更願意投放時間及其他資源於其中，然而尚需有更多措施以提昇其他學習經歷的質素。在各因素之中，影響其他學習經歷實施最大的因素，是社會文化觀念認為非學科學習只附屬於學科學習，這因素更抵消了學校和教師推動其他學習經歷值得敬佩的努力。在三個要素類別中，本土要素包含最多影響因素，其中教師因素最有利課程。不過實施新高中課程，包括：其他學習經歷卻令教師工作量大幅增加，妨礙其他學習經歷進一步發展。 / 建基於 Fullan (2001a)的清單，並根據本研究結果，研究員提出了十一項影響香港教育改革的因素，作為日後參考。研究對政府促進學校實施其他學習經歷作出不少建議，包括：投放更多資源，並更積極游說大學和向公眾推廣其他學習經歷。同時，學校、公眾和政府亦需要有足夠耐性，讓一個新課程慢慢在學校制度化。 / In Hong Kong, Non-academic Learning (NAL) has long played a peripheral role to academic learning in secondary school education, especially the senior secondary, because of the predominantly examination-oriented culture. First implemented in 2009, Other Learning Experiences (OLE) is now a formal, compulsory component of the New Senior Secondary Curriculum (NSSC), requiring student participation in in five areas of NAL. It has brought hopes to advocates of Whole-person Development (WPD) that students could develop a balanced life and values and attitudes that could not be learnt in textbooks but through authentic learning experiences. To understand what, how and why the OLE has been implemented, the doctoral researcher has carried out a qualitative case study examining the implementation of OLE and the interplay of factors underlying the process at two schools. Based on a critical analysis of the interviews with the parties involved in OLE implementation, including the principals and teachers, alongside scrutiny of related documents, this study presents recommendations on how OLE and similar educational initiatives can be more effectively implemented. / Analyzed using a framework developed from Fullan (2001) and Leithwood (1981), results in this study indicate that the top-down OLE stipulated by the government has effectively initiated changes in NAL of senior secondary students in Hong Kong. OLE has achieved partial success mainly in terms of meeting time requirements for the five areas set by the Education Bureau (EDB). There has also been a rise in the status of NAL now required and structured as OLE, which heightened the willingness of the principals, teachers and students to inject time and other resources to OLE. However, measures in bolstering quality of OLE have yet to be intensified. Amid the many factors, cultural and societal perceptions of NAL as subsidiary to academic learning are the major factor that counteracts the praiseworthy effort made by schools and teachers. Local factors were the most influential among the three categories of factors, with factors of the teachers presenting the most favorable effects to the curriculum. Nevertheless, the large teachers’ workload incurred by NSSC implementation hindered further development of OLE. / From the findings of this study and Fullan’s (2001a) list, the researcher has proposed a list of 11 factors to be considered in Hong Kong-based education reform initiatives. There are many recommendations concerning how the government may facilitate OLE implementation in schools, for example, by allocating more resources to relieve teachers’ workload and by being more proactive in lobbying universities as well as promoting OLE to the public. Considerable patience is also suggested for the schools, the public and the government to allow gradual institutionalization of a new curriculum in schools. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Leung, Kwok Wai Masa. / Thesis (Ed.D) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 293-313). / Abstracts also in Chinese.