This field study of two-year-old children using art materials in a preschool setting was concerned with how children constructed meaning about the art-making process through their interactions with others. The study was theoretically grounded in the work of George Herbert Mead, Herbert Blumer and Lev Vygotsky, who share a common view that meaning is socially constructed through interpersonal interactions. The study focused on children’s early use of art media and their social interaction as a significant factor in their artistic expression. Monthly videotaped and written observations documented four 2-year-aids’ participation with art media during their attendance at weekly parent-2-year old program. Over two subsequent years, the data were expanded to include observations of additional 2- year-aids, and parent and teacher interviews. Observations in a 3 and 4-year-old classroom coupled with extensive teacher interviews provided insights into teachers’ assumptions and values which guided their interactions. Observations of the 2-year-olds were coded into art episodes, and analyzed in terms of behaviours, interactions, and values. Based on Vygotsky’s idea that children’s shift from biological development to higher cognitive functioning occurs through interpersonal interaction, children’s exploratory use of materials was described. Analysis of their explorations revealed that intentionality and visual interest were crucial components in their art experiences. Analysis suggested that children as young as 2 years possess aesthetic sensitivity. There did not appear to be any single factor that could account for children’s selection or placement of colors or marks on a piece of paper. Social interactions around art-making occurred within spatial-temporal frames which contributed to the way the art-making context was defined by the participants. Through interpretations derived from interactions with peers and adults, children constructed understanding about cultural values for work, production, ownership, and neatness. They learned little about art skills or the relationship of their art-making experiences to art in the adult world. The study concludes with presentation of an interactionist model of children’s artistic expression which describes the dialectical relationship between biological development and social interaction. The model eliminates the need to debate issues around innate or cultural origins of children’s visual expression, through its inclusion of biological and social components. Using the interactionist model and Vygotsky’s notion of scaffolding can help teachers address conflicts surrounding the definition of developmentally appropriate art education for young children.

This qualitative study compares an "integrated" art program with a "discipline-oriented" art program at the grade eight level in two Ontario public schools. Data were collected through ethnographic interview and observation. The comparison is based upon the intentional, curricular, structural and evaluative dimensions of schooling as outlined by Eisner (1991). The study indicates that integrative practices are complex and multi- dimensional. Integrated outcomes occur and may be cultivated within a discipline-oriented school structure.

The purpose of this research was to investigate the past art experiences and the beliefs about ability to create art as held by beginning elementary generalist teachers, and the effects of those beliefs on art teaching. Constructivism as a learning theory formed the theoretical framework for this study. An investigation of the related literature explored the topics of ability to create art, elementary generalist teachers of art, beginning teachers, teachers' beliefs, preparation of art teachers, and beginning teachers' images of self as art teacher. The research, consisting of two phases, was conducted using a descriptive case study methodology. Phase one of the study consisted of using semi-structured interviews with eight elementary generalist teachers in order to determine their past art experiences and their beliefs about their ability to create art. Three of those participants formed the purposeful sample for phase two of the study which consisted of observations of five art lessons per participant, along with pre and post interviews. An extended final interview was conducted along with documentation examination and interviews with school personnel. The thesis which emerged from this study is that beliefs about ability to create art were formed from prior experiences with art, and that beliefs about an ability to create art affected the art teaching practice of the participants. The participants believed that they do not have an ability to create art and do not have the natural talent required to be an artist. These beliefs, along with their limited background in art, lack of subject matter knowledge in art, and their status as beginning teachers adversely affected their art teaching practice. This study revealed eight specific connections between beginning teachers' beliefs about their ability to create art and their art teaching practice. Insights into these beliefs about art making and their connections to art teaching suggest important implications. Noteworthy among these implications are the need for teacher education programs to provide for personal art making skill development and the need for schools to provide support and accountability within art education for beginning teachers.

In this thesis, contemporary Native American images on skateboards that extend Native American art beyond such traditional crafts as beadworks and pottery are explored. The study reveals that Native American skateboard graphics express history, culture, and myths. Native American curriculum, Native American art, and Native American stereotyping in visual culture are critically examined. The purpose of the study is to provide additional Native American art and visual culture examples and methods for the development of Native American art curricula.

The expansion of Built Environment Education into art programs is a relatively recent phenomenon but very timely. The need to develop in students an understanding of their living environment is urgent as they inherit a world that is experiencing the depletion of its resources and erosion of its ecological balance. / There is a fundamental need for more comprehensive curriculum planning in built environment education. The goal of this research is to develop a curriculum paradigm that can be used to create curriculum plans and instructional designs for built environment education as part of the art class in secondary schools. / The built environment content of this curriculum paradigm is based on the active investigation of the students' internal world with all its different perceptions and lived experience and how this affects their understanding of the greater built environment. Through a more intense investigation of the greater built environment, the students will then analyze the effect that this environment has on their own perceptions and living habits. By developing a more conscious understanding of the built environment, the students will be better equipped to make informed decisions on how to better adapt to or change their environment. / A guiding principle for the curriculum paradigm was to ensure that the introduction of a new subject area, such as built environment education, into art education curriculum involved processes of creativity and discovery along with self-reflective and participatory action for both the teacher and students. To be effective, the content material must not only be accessible through the traditional modes of academic literature research but also made valid through observation, reflection and interaction with the particular built environment of the teacher and students themselves. / Vigilance and active participation in the process of urban change are vital. These changes can only be effective and enduring if we acknowledge the capacity of the built environment to enrich our lives as private and communal beings. / One of the essential goals of this curriculum paradigm is to capture the excitement and potential that the built environment offers as a pervasive agent for understanding and celebrating constructed past, present and future.

Since colonial contact in North America in 1492, First Nations identity, history and culture has been displaced, erased and fictionalized by dominant colonial representations. The long history of dominance of these representations has embedded them in the consciousness of both the colonizers and the colonized, and effectively suppressed and controlled First Nations history, culture and identity. This dissertation examines how First Nations artists have resisted and critically analyzed the representation of their identity, history, and culture from the 1970s until today. Four key themes that First Nations artists have identified in the past forty years are stereotypical representations, exclusion of representation, western framing of representation, and the appropriation of representation. The research in the study employs a new method titled Ab/Originography, that is an analysis of literary, narrative and artistic accounts that come directly from the `original' source. This approach is grounded in a post-colonial analytic methodology that explores the Egocentric ideological underpinnings of representations of First Nations covering the period of colonial contact up until today, As a researcher, I propose that deconstruction and reconstruction must come directly from the First Nations voice and epistemological framework in order to give balance and validity to First Nations representation. To that end, forty artworks arc reviewed in this text with interviews of six First Nations artists. As well, I also include my own narrative, chronicling of art production in relation to my lived experience as a First Nations artist. The overall aim of this research is to raise public awareness about the predominant role of colonial ideology in the representation of First Nations peoples so that distorted constructions, habitual recycling and western ideological projections will diminish. Vltimately. this deconstructivc process provides a new space in the literary canon for the reconstruction of First Nations representation by First Nations people, especially as it pertains to First Nations art. This body of research is intended ultimately to contribute to a profound cultural and political transformation in the perception and representation of First Nations. Through this deconstruction of representation and the revealing of issues relevant to First Nations and First Nations artists in Canada, a foundation has been laid to rewrite art *story from the First Nations perspective.

Orientador(a): Luiza Helena da Silva Christov / Banca: Rejane Galvão Coutinho / Banca: Regina Célia Prandini / Resumo: Esta pesquisa trata das possibilidades de experiência estética no ensino de artes por meio da aproximação da linguagem audiovisual e as formas de criação, produção e compartilhamento dos dispositivos digitais. O contexto que recorto como privilegiado para a minha análise é a escola municipal em que leciono aulas para crianças e adolescentes do Ensino Fundamental I e II, EMEF Profª Marina Melander Coutinho, localizada na zona sul de São Paulo. É a partir da prática com os estudantes de 7º ao 9º ano do Ensino Fundamental II, inicialmente envolvendo fotografia e cinema, seguida da ampliação das formas de criação de narrativas visuais vivenciadas na rede cibernética, que se consolida um fazer artístico em arte-educação que considere as tramas simbólicas e a transitoriedade de ambientes característicos da vida contemporânea e a ressignificação de uma educação voltada para o sujeito e os sentidos de suas experiências. Dessa forma, o trabalho articula diferentes procedimentos para a coleta de dados: levantamento teórico para problematizar a experiência docente, registros dos estudantes durantes e no pós-aula e registro docente acerca do processo. Ao longo da análise pretendeu-se destacar a função do professor como protagonista de sua jornada e mediador da inteligência coletiva, a apropriação dos elementos do ciberespaço e a importância da imagem-som, representadas na fotografia, cinema, televisão e a internet combinadas para propor novos roteiros pedagógicos baseados na incorporação da cultura multimídia / Abstract: This research deals with the possibilities of the a esthetic experience of the aproximation of audiovisual language and the formation of criativity production and sharing of digital devices. The context that I outline as priviligied for my analysis is the Municipal school where I teach children and teenagers of Elementary School I and II at EMEF Profª Marina Melander Coutinho, located in the southern region of the city of São Paulo. Starting with the experience of dealing with 7 th to 9 th grade students of Elementary School II, initially involving photography and cinema, followed by enlargement of the creative models of visual narratives that exist in the cybernetic network, and consolidates an artistic criativity in art education consedering the symbolic plots and the transition of surroundings which are characteristics of contemporay and the reinterpretation in education which is directed to the subject and meaning of those experiences. Therefore this project articulates different procedures for the obtaining of facts: theoretical survey, to question the teaching experience, comments of students during and after classes and teacher notes regarding this event. All during the analisies there was an intetion to detail the role of the teacher as a character and mediator of collective intelligence appropriation of cyberspace elements and the importance of the image - sound which are represented in photography, cinema, televison and the internet together to propose new pedagogic scripts based on the incorporation of the multimedia culture / Mestre

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-31Bitstream added on 2014-06-13T20:09:32Z : No. of bitstreams: 1 sciuto_b_me_ia.pdf: 558225 bytes, checksum: 7dc2aee3fb682e1e7b6fbd6c884cbe17 (MD5) / Universidade Estadual Paulista (UNESP) / Neste trabalho tratei de escrever e analisar a história do núcleo de arte/educação do Projeto Makiguti em Ação, entendendo-o como parte integrante de minha própria história. Através de informações, documentos e da memória de voluntários do projeto, essa história foi sendo construída. Pela sua analise, pretendi responder a algumas dúvidas e inquietações, geradas durante a minha participação no projeto. Quais são as relações existentes entre a arte e o artesanato? Como se caracteriza uma prática educacional que visa à criação de valores humanos? Qual a contribuição da filosofia budista para esse fazer educacional? Essas são algumas questões discutidas nessa dissertação. O núcleo nasceu, desenvolveu-se e por fim foi dissolvido em 2009, dentro do contexto de um programa educacional gerido pela Coordenadoria Educacional da Associação Brasil Soka Gakkai internacional (BSGI). Uma associação de leigos, praticantes do Budismo de Nitiren Daishonin, que tem como metas a paz, a cultura e a educação. Para o núcleo de arte/educação, a ligação entre filosofia budista, arte e educação, além de necessária, é indissolúvel de sua própria existência. Assim como para mim não é possível conceber uma educação, sem a criação de valores humanos, a despeito de reconhecer os mistérios envolvidos nessa difícil construção / In this work I could write and analyze the history of art and education nucleus from Makiguti in Action project that is part of my own history. This history was built through documents, informations, and project volunteers‘ memories. Analyzing it I could answer some doubts and concerns that had been grown in my mind during my participation in this project such as: What are the relations between art and craft? How is characterized an educational practice that aims the creation of human values? What is the contribution of Buddhist philosophy to make this education practice? These are some issues discussed in this dissertation. The nucleus was born, was developed and finally was dissolved in 2009, in the context of an educational program managed by the Educational Coordination from the association Brazilian Soka Gakkai International (BSGI) that is an association of lay practitioners of Nitiren Daishonin Buddhism, which the goals are peace, culture and education. From the of art and education Makiguti nucleus‘ point of view the connection between the buddhist philosophy and art / education it is necessary and inseparable from its own existence. In my opinion it is not possible to conceive an education without the creation of human values, despite the fact that there are lots of mysteries involving this difficult construction

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-03Bitstream added on 2014-06-13T18:08:20Z : No. of bitstreams: 1 pinto_jr_me_ia.pdf: 774274 bytes, checksum: a4671b99d67b8d7e08c3857368d862c5 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / Esta pesquisa tem como foco as práticas avaliativas realizadas por setores educativos de museus de arte e instituições culturais. A fundamentação teórica parte da intersecção dos campos da educação e da arte-educação, sobretudo no que tange à educação não formal realizada em espaços expositivos. Foram realizadas visitas e entrevistas com coordenadores de setores educativos de quatro instituições da cidade de São Paulo: Paço das Artes, Museu de Arte de São Paulo, Museu Lasar Segall e Pinacoteca do Estado de São Paulo. Esta pesquisa exploratória possibilitou um entendimento de como os setores educativos estão realizando a reflexão de suas ações educativas e como estas práticas podem influenciar o processo de atendimento ao público. A experiência da avaliação como reflexão do processo educativo realizado em espaços culturais foi também vivenciada pela pesquisadora junto à equipe do Pavilhão das Culturas Brasileiras em São Paulo, onde foram pensadas estratégias articuladas através de relatos da mediação cultural por parte dos sujeitos envolvidos. Como resultados da pesquisa, aprendi que a avaliação das ações educativas deva ser reflexiva no seu processo, para que possa desempenhar uma função transformadora e construtiva da própria mediação cultural / Esta pesquisa tem como foco as práticas avaliativas realizadas por setores educativos de museus de arte e instituições culturais. A fundamentação teórica parte da intersecção dos campos da educação e da arte-educação, sobretudo no que tange à educação não formal realizada em espaços expositivos. Foram realizadas visitas e entrevistas com coordenadores de setores educativos de quatro instituições da cidade de São Paulo: Paço das Artes, Museu de Arte de São Paulo, Museu Lasar Segall e Pinacoteca do Estado de São Paulo. Esta pesquisa exploratória possibilitou um entendimento de como os setores educativos estão realizando a reflexão de suas ações educativas e como estas práticas podem influenciar o processo de atendimento ao público. A experiência da avaliação como reflexão do processo educativo realizado em espaços culturais foi também vivenciada pela pesquisadora junto à equipe do Pavilhão das Culturas Brasileiras em São Paulo, onde foram pensadas estratégias articuladas através de relatos da mediação cultural por parte dos sujeitos envolvidos. Como resultados da pesquisa, aprendi que a avaliação das ações educativas deva ser reflexiva no seu processo, para que possa desempenhar uma função transformadora e construtiva da própria mediação cultural

A prática de leitura de imagens de arte, em algumas instituições de ensino, tem se limitado à informação dos aspectos técnicos e das intencionalidades do artista ditas exclusivamente pelos professores, pouco ou nenhum espaço há para que os estudantes possam refletir e formular seus próprios julgamentos sobre a imagem da obra, como direito à vivência da imaginação e experiência estética, fato que contribui para que o olhar humano se torne insensível e utilitário. Entende-se que essas práticas docentes, fundamentadas pela informação, advêm de alguns aspectos de tendências pedagógicas de cunho tradicional, escolonovista e tecnicista, ao qual a educação, logo o ensino e a aprendizagem de Arte, vêm se fundamentando desde o período de colonização no Brasil, e que, apesar de haver novas perspectivas nos dias atuais (BARBOSA, 1998), não desvincularam-se do entendimento de que o saber fazer (visando ao produto final) tem mais valor do que a sensibilização envolvida na experiência com as artes. No entanto, destaca-se que a educação estética pela arte é fator crucial ao desenvolvimento humano, pois potencializa o autoconhecimento sensível/reflexivo, como prática de construção da existência. Nesse norte, a presente pesquisa constitui-se como alternativa frente às práticas de leitura de imagem de arte na escola, com o desafio de mediar o aprimoramento da percepção estética, como possibilidade de formação do olhar humano, para que os alunos sejam capazes de relacionar-se com o objeto estético (imagem de arte), para além do julgamento instantâneo, e possam ler a dimensão metafórica do não visível da arte. Para a realização de tal proposta, foram criadas oficinas de leitura de imagens de diferentes expressões artísticas (Instalação Artística, Fotografia, Grafite, Pintura), tendo como embasamento metodológico os estudos de Vigotsky (2001; 2005; 2010) sobre mediação, em que o professor aproxima e proporciona experiências significativas aos estudantes, através de uma postura pedagógica problematizadora (PAVIANI, 2010a) de questionamentos. Cabe ressaltar que a mediação, presente no questionamento constante, durante a leitura dos sujeitos, teve o papel de desafiá-los para as minúcias e os vazios da imagem que, talvez, pudessem passar desapercebidos em um olhar momentâneo, numa proposta em que coloca o aluno como criador de significações à imagem de arte. Os resultados da pesquisa, construídos pelos estudantes, através de respostas escritas e da estratégia de observação direta participante (LAKATOS; MARCONI, 1991), confirmaram o cenário atual da leitura de imagem de arte na escola e evidenciaram o refinamento de algumas habilidades de observação e análise, como indicativa de aprimoramento da percepção estética, propiciadas pela experiência da leitura de arte. A estratégia desenvolvida nessas oficinas pode certamente ser adaptada às aulas de Arte, pois representa uma oferta que potencializa a ampliação de sentidos na leitura de arte, ao invés de sua utilização em prol do fazer com um fim em si mesmo. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-04-13T18:08:35Z No. of bitstreams: 1 Dissertacao Michele Pedroso do Amaral.pdf: 1889081 bytes, checksum: bce23df044be81943146a5b6773885d6 (MD5) / Made available in DSpace on 2015-04-13T18:08:35Z (GMT). No. of bitstreams: 1 Dissertacao Michele Pedroso do Amaral.pdf: 1889081 bytes, checksum: bce23df044be81943146a5b6773885d6 (MD5) / The practice of art images reading in some teaching institutions has been accounted itself limited in the artist’s willfulness and technical aspects information said exclusively by teachers, there is little or none opportunity so the students may reflect and formulate their own understandings about the work image as right to imagination existence and aesthetic experience, fact that contributes so the human look become insensible and utilitarian. It understands each other that those teaching practices, founded by information occurs from some aspects of technician, new school and traditional pedagogical trends to which the education, at once the Art teaching/learning is based upon since the colonization period in Brazil and that although having new perspectives today (BARBOSA, 1998) they didn’t become disentailed of the understanding that to know -to do (aiming at the final product), it has more value than sensitization involved in the experience with the arts. Nevertheless, it is detached that the aesthetics education through art is a crucial factor to the human development, so it makes potent the sensitive/reflective self-knowledge as existence construction practice. In view of this, the research is constituted as alternative in front of the practices of art image reading at school, with the challenge of mediating the aesthetic perception improvement, as formation possibility of the human look, so the students are able to link with the aesthetic objective (art image) over and above the instantaneous understanding and they can read the metaphorical dimension from the non visible of the art. For the realization of that proposal, image reading workshops were created from different artistic expressions (Artistic Installation, Photography, Graffiti, Painting), having as methodological basis the Vigotsky studies (2001; 2005; 2010) about mediation, when the teacher approaches and provides significant experiences to the students through a pedagogical problematic posture (PAVIANI, 2010a) of questions. It is suitable to emphasize that the mediation in the constant question during the analysis of the subjects had the role to challenge them to the image’s emptiness and minutiae that perhaps they might pass careless in a momentary look, on a proposal in which it puts the students as meanings creator at the art image. The research results constructed by students through written answers and from participant direct observation strategy (LAKATOS; MARCONI, 1991), confirmed the present scenery of the art image reading at school and they evidenced the refinement of some observation and analysis skills as improvement sign of the aesthetic perception, propitiated by experience of the art reading . The strategy developed in those workshops can certainly to be adapted to the Art classes, therefore it represents an offer that makes potent the sense amplification in art reading, contrary to its utilization in favor of making with an end in itself.