Orientador: Luiza Helena da Silva Christov / Banca: Rita de Cássia Franco de Souza Antunes / Banca: Eliane Bambini Gorgueira Bruno / Resumo: 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 / Abstract: 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 / Mestre

Thesis Submitted in fulfilment of the requirements for the degree Doctor Educationis in the Faculty of Education and Social Sciences at the CAPE PENINSULA UNIVERSITY OF TECHNOLOGY, 2012 / Quality and meaningful art education is a very important vehicle for learning and knowledge acquisition which is within the reach of all children in schools. Unfortunately, due to a variety of reasons such as the fact that generalist trained teachers, with no specialised training in art, are responsible for the teaching of art in schools in South Africa, as well as recurring educational change and subsequent uncertainty, lead to the situation that art lessons currently taught at many schools do not answer to the requirements for quality art education. There is a great need for in-service training to address the shortfalls in the teaching of art in schools. When skills building workshops in art education were offered, teachers requested personal interventions on a one-to-one basis with a focus on their own particular strengths and shortcomings. Mentoring the educators seems to be a means of addressing their needs to improve the quality of their teaching of art. In response to a plea from teachers this research project was designed during which inexperienced and insufficiently trained teachers who are responsible for art education were mentored. Four sites were selected at which the teachers were mentored. There were marked differences in the circumstances and conditions at the four schools, however, from all the sites there was an outcry for assistance in the planning and presentation of quality art lessons and for lesson ideas. The one similarity in all the cases was the fact that they were all generalist trained teachers who are responsible for the teaching of art in their own class and some other classes as well. The mentoring followed a cyclical process and was adapted for art education. The process comprised the establishment of a relationship in which the mentor and mentee played equally important roles, needs analysis, the mentoring process, which iv consisted of joint planning of lessons, model teaching, discussions and coaching sessions, reflection and then to return to the beginning of the cycle. The process concluded with a workshop. The entire process was recorded, reported on and assessed upon termination. Data that was collected at the four sites was analysed according to themes that were developed from the literature on mentoring in education as well as the literature on quality and meaningful art education. Themes that have emerged are the mentoring relationship, the role of the mentor, the role of the mentee, the purpose and goals of the mentoring, the mentoring process and the mentoring outcomes. The thesis concludes with recommendations for the mentoring of educators in the teaching of quality and meaningful art and suggests that no child should be deprived of the learning opportunities through art that can form part of their primary school experience.

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. / 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.

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T07:59:23Z (GMT). No. of bitstreams: 1 Pizza_DulcineiaGalliano_M.pdf: 37700626 bytes, checksum: 0656e5ea33b77009996212a1cf94a131 (MD5) Previous issue date: 2012 / Resumo: A pesquisa com o material pedagógico Pasta Arte br, criado pelo Instituto Arte na Escola para oferecer suporte a professores em programa de formação continuada, teve por finalidade refletir sobre questões relativas ao conceito de imagem e também sobre proposições para a leitura, compreensão e interpretação de imagens de arte. Teve como objetivo, ainda, considerar a capacidade de professores de arte de reflexão e utilização do repertório imagético e as múltipas possibilidades para a atribuição de sentido a partir das reproduções de obras apresentadas. No projeto, a imagem é tratada como algo que vai além da forma visível e que tem como princípio formador a percepção e a capacidade do observador de elaborar significados. Para tanto, foram relacionados autores que tratam a leitura da imagem sobre esta perspectiva. Foi utilizada a pesquisa qualitativa para o desenvolvimento deste trabalho com grupo focal. Os participantes foram quatro professoras da rede pública de ensino, atuantes no ensino fundamental e médio que discutiram sobre a aplicação do material em suas aulas. Dos trabalhos do grupo focal, resultaram diversas formas de ler as imagens apresentadas, e impressões sobre a utilização do material pedagógico e das imagens como mediadoras da ação do professor de arte. Este material foi analisado para a elaboração de críticas construtivas sobre possibilidades de melhora do conteúdo e sugestões da Pasta Arte br do ponto de vista de professores / Abstract: The aim of studying the Pasta Arte br, pedagogical material created by the Instituto Arte na Escola to support art teaching, was to reflect on issues related to image concepts as well as to discuss propositions that had the objective of enabling reading, understanding and interpretation of art images. Another aim was to look at art teacher's capacity for reflecting on and using image repertoire and multiple possibilities for attributing meaning based on the reproductions of the works that were presented. In this project, the image is considered as an element that goes beyond the visible form; the underlying principle is the aim to develop the observer's perception and his or her capacity for elaborating meanings. To this end, authors that discuss image literacy on this perspective were selected. Qualitative research methodology was used to carry out the study with a focal group. The participants were four elementary and secondary level teachers who discussed their experience applying the material in their art classes. During the focal group sessions, several ways of reading and working with the images were presented, as well as impressions on the use of the pedagogical material and images as mediators in the art teachers' practices. The data was analyzed in order to elaborate constructive criticism on the possibilities for improving the content and suggestions of the Pasta Arte br from the teachers' point of view / Mestrado / Artes Visuais / Mestre em Artes

The purposes of the study are to identify factors of creativity which have been revealed in the fields of personality and cognitive theory, art education, and science, and to formulate a base for a theory of creativity.

The purpose of the study was to make an assessment of Arkansas middle school/junior high art programs using National Art Education Association standards. Data were collected from questionnaires, curriculum guides, and school visitations. Participating in the study were 127 schools enrolling 53,502 students of which 14,755 (28%) were taking art classes. For comparisons, the state was divided into five regions.

In this investigation, a content analysis was made with eleven lexicographical sources and three basal reading series to determine if art and art-related words were present. The analysis was made with the use of two charts, in which each was divided into eight categories of word context. The Composite Chart contained 6,576 words found in six lexicons, five word lists and forty-two readers, and the Reader Chart contained 407 words found only in the readers. The analysis revealed: dominant categories and percentages, word and cumulative word frequencies, high and low frequency words, and the percentage of words found in the basal readers as compared to the lexicographical sources.

Since its inception in 2003, it is becoming increasingly evident that meaningful pursuits in the field of Children’s Global Arts can change lives. The specific intention of this research has been to document ‘tales of transformation’ as shared by various global arts participants to discover how individuals can alter the way they perceive the world and their role within it. Through the power of art, story, and relationship, a renewed perspective of education emerges that compels us to look very differently at what it means to teach and to learn in an interdependent and fragile world. By the closing chapter, hope for humanity is restored by rethinking schools as agents for change where a focus on disposition and inquiry rather than curriculum and methodology, provide the value and significance for education in the 21st century. Chapter 1 opens up the dialogue by presenting the challenges facing many children in the world today, including those living in ‘privileged’ societies such as Canada. It also confronts the educational profession to assume its role and responsibility in addressing the problems and solutions that face children and the world. Chapter 2 provides background knowledge and theory in areas significant to this dissertation, including transformational learning, educational change, arts-based research, and child advocating philosophies. Chapter 3 explains my research intention and process, including a glimpse into humanistic and holistic pedagogy. The true beginning of this dissertation unfolds in Chapter 4 as stories begin to be told through a pivotal Children’s Global Art’s event - the Learning and the World We Want conference - held in Victoria in November 2003. The serendipitous nature of this initiative also unfolds through the highlighting of the Global Arts catalogue, DVD, website, Children`s Global Arts Foundation, and team approach. The classroom and community scenarios revealed in Chapters 5-8 demonstrate ways in which the global arts project, under the mentorship of experienced educators and facilitators, have provided a safe environment for students of diverse age, background and worldview, to break through a “culture of silence” through creative and candid encounters with Self and Others. Chapter 9 compels us to look critically at Canada’s privileged society and culture, and brings awareness to the prevailing paradox and hegemonic forces at play when considering global educational initiatives. Weaving the global arts stories and patterns of this dissertation together, Chapter 10 highlights unifying elements of transformation, revealing answers to original research questions, and a refreshing sense of hope for our troubled world: • How are experiences in Children’s Global Arts shifting the ways those involved view the world and their role within it? • What are the key elements that contribute to those experiences? Chapter 11 outlines the implications and support for Children’s Global Arts at the classroom and school level by taking a closer look at basic school structures, and identifying ways in which they can be perceived differently in order to accommodate transformational understandings as identified in the preceding chapters of this dissertation. The concluding Chapter (12) provides a final reflection of this research journey. Woven throughout the chapters of this dissertation, readers will also come across a few interludes, and a multiple arrangement of images and discourses, that bring greater depth and meaning to this journey, and help to convey the interconnectedness of experiences worldwide.

M.Ed. (Educational Psychology) / Art making is seen as an opportunity to express one's self imaginatively, authentically, and spontaneously, an experience that, over time, can lead to personal fulfilment, emotional reparation, and recovery (Malchiodi, 2003). Taking into consideration the South African context, and the many psychological, social and emotional and learning barriers, through the creation of art and reflecting on the art products and methods people can increase awareness of self and others. It will also aid in coping with symptoms of stress and traumatic experiences, and enhance cognitive abilities (American Art Therapy Association, 2002). The aim of the paper is to assess and provide feedback on how learners experience the introduction of creative expressive arts activities into their school curriculum within the Life Orientation subject,. The research followed a phenomenological research design through the purposive sampling of nine learners from a school for learners with special educational needs. Data was collected through the means of group interviews, incomplete sentences and observations, then analysed by means of thematic analysis. Using socio-cultural theory as my literature framework and a socio-constructivist research paradigm, two main themes emerged. The first was that the learners experienced inter-personal development, which linked to the second theme of intra-personal development, through a psychological timeframe. Furthermore, I was able to determine which activities the learners enjoyed and which would need to be included in future creative expressive arts activities for the enjoyment of the learners. Through the emergence of this research the school communities will be better informed as to the value that creative expressive arts engagement could have in a school setting.

I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internationally, ' which broadened the scope of allowable objects for consideration as Fine Art. ii) Political mobilisation in South Africa was accompanied by calls for democratisation and charges of 'elitism' being levelled against many public institutions. These factors have combined to make the S.A. art institutions (public galleries, tertiary teaching institutions and national art competitions) re-assess their legitimacy, particularly in terms of 'accountability' and 'representativeness' . A close examination of these two factors is essential if one is to gain insight into the current condition of the public art institutions. This research is an attempt to understand the history and the current nature of the shifting relationship between the art institutions and the 'public' in South Africa. A further goal is to assess the extent to which concepts that are valid within the realm of the polity can be transposed into the cultural realm: A tendency prevalent within the cultural debate in South Africa during the 1980's. The emphasis of this mini thesis is on the artworld's perception of its social role. I therefore look at the way changing attitudes are reflected in the statements and writing of leading figures within this sector. The method is to critically analyse texts that pertain to my chosen area of research.