How does it feel to be creative? Such a question, when approached from a phenomenological perspective, reveals new understandings about the embodied experience of creativity, and how it feels as it is being lived. This investigation begins with a provocative contrast of two environments where creativity is thought to manifest itself: school art classrooms, where creativity is often legislated from an authority figure, and New Orleans Second Line parades, where creativity is organically and kinetically expressed. A thorough review of the literature on creativity focuses on education, arts education, creative economies, psychology, and critical theorists, collectively revealing a cognitive bias and striking lack of consideration for community, freedom, and the lived experience of being creative. Further discussions in the literature also neglect sites of creativity, and the impact that place (such as a school classroom) can have upon creativity. The phenomenological perspectives of Merleau-Ponty, Heidegger, Bachelard, and Trigg support a methodological lens to grasp embodied knowledge, perceptions of placedness on creativity, and the interdependent frictions between freedom, authenticity, movement and belonging. The research method includes investigations in New Orleans in archives, examination of visual and material culture, participation in cultural practice, and formal and informal interviews. Further, the phenomena of walking and wandering became a methodology for embodied data collection that clarified the emerging rich experiences and descriptions of how it feels to be creative, especially how it feels to be creative in a creative place. What is also revealed are intense frictions, such as the tension between perceptions of personal freedom and a high demand for authenticity in terms of New Orleans traditions, that opens the space and fuels the inspiration for the abundance of creativity found in New Orleans culture.

It is the fundamental insight of phenomenology that meaning is first and foremost - not something which we intellectually reflect on. It is not a product of the mind reworking raw, perceptual experiences. Rather meaning, and our connection to the world, are perceptual phenomena. Thus, to understand the ways in which children find meaning demands a turn toward perceptual experiences - how children see and feel. In this theoretical dissertation, I explore questions of perceptual experiences through a phenomenological framework that I refer to as the perceptual rite of passage (PRoP). The conceptual framework, which centers on attentiveness, labors to help us understand the ontology of perception for preadolescents and how meaning emerges through everyday encounters.

This qualitative mixed methods study examines how six participants- three Black college-level art students and three accomplished Black artists-educators, respond to curated installations designed to probe their understandings of and reactions to depictions of Black Americans in examples of visual culture from the United States of America (US), namely early film and television. The participants viewed and responded to two presentations designed from two contextual analyses. Exhibition Part 1 featured popular early US American films, animated movies, and a television sitcom from 1915 to 1979. Exhibition Part 2 displayed artistic, historical, and scholarly materials from 1903 to the present, which related to the content in Exhibition Part 1 to examine the enduring presence and implications of the famous media. Specifically, this study addressed the following questions: Given that stereotypical depictions of Black people in popular American visual culture have historically influenced societal perceptions of Black people and how these stereotypes can manifest into racial propaganda for capitalist means, what might we learn about the enduring nature of racial stereotypes from the responses of six Black participants to a curated visual arts exhibition based on the theme racial stereotyping? Given a specifically created visual arts exhibition embedding several racist tropes, how do three Black college art educators and three Black college art students recognize the stereotypes embedded in the exhibition and know anything about their origins and histories? What have participants' experiences been with the stereotypes they recognize, and in what different forms and settings? If some of the racial stereotypes embedded in the visual installation are unrecognized, how do participants account for this? The data analysis, especially cross-examinations, revealed participants' assessments of the exhibitions, which centered on their observances of media created by White US American artists that spotlighted fictional Black characters in creative storylines and how these endeavors sought to control and define Black Americans. When discussing Exhibition Part 1, participants had unfavorable reactions to the content and witnessed unfavorable depictions that reminded them of unfavorable lived experiences. When answering questions about Exhibition Part 2, their remarks primarily cited control, gains, and trauma as examples of racial propaganda for capitalist means. The concluding discussion of the significant takeaways from this study centered on six salient implications for art and art education: 1. Artistic Racism and Art as Racial Capitalism in popular American visual culture 2. Action-oriented, racially conscious educational practices 3. The fundamental need for Black Intellectual Thought 4. Subsequent scholarly work for the researcher 5. Black Research Throughout this study, I evoked the Black gaze, meaning I approached and tackled this scholarly work from my perspective as a Black queen, a proud descendant of and advocate for African people and the Black Race. I lead with a culturally informed Black stance and dare to do so in academia. It is for readers who are the same. Despite identifying differently, it is also for those who can decenter themselves to acknowledge and consider information about African Americans, the Black Race, and viewpoints of Black individuals to appreciate this study and its suggestions. KEYWORDS:artistic racism, the Black gaze, the Black Race, Blackness, depictions, education, film, media, lived experiences, perceptions, Race, racial bias, racial capitalism, racial gaslighting, racial propaganda, racial stereotypes, racism, representations in early US media, research, social and racial implications, social assumptions, teaching, visual art, visual culture, US American history

"...the writer undertook in this studyan evaluation of the seven major art museums of Texas and their contribution to public-school education. Chapter I served as an introduction to the study. Chapter II traced the development of the art museum in American, dating back to the period of colonial settlements in New England. It also presented the history of the art museums in the five key cities of Texas: the Elisabet Ney Museum of Austin, the Dallas Museum of Fine Arts, the Museum of Fine Arts of Houston, the Fort Worth Art Association, the Children's Museum of Forth Worth, the Witte Memorial Museum of San Antonio and the Contemporary Arts Association of Houston. In addition, the general policies and programs of the Texas museums were discussed. Chapter III evaluated the programs of the seven majoy art museums according to the standards set up by the Texas Art Education Association...Chapter IV will present the writer's conclusions and recommendations." -- leaves 35-36.

This phenomenon might show that every teacher has some underlying beliefs, which could be made clear by narration. Lack of "traditional" art making experience, Helen thought the "Visual Learning" in art education could help students "unwrap packaging" and get to understand the hidden truth. On the other hand, other three teachers who love drawing from their very young age, focused more on different media of art making. To some extent, reflecting an "art for art sake" attitude, which shows quite a distance from the orientation of recent curriculum changes. / This study is an exploratory narrative research, focusing on the beliefs and their formation process of those teachers who regard themselves as art teachers. Hong Kong society seems ignore the importance of art education. Most teachers teach in primary school can have a share on having a few Art & Craft lessons, including those who even don't understand what is art. In this context, there are still some teachers who regard themselves as art teachers. Why? What beliefs do they hold towards art or art education? How are these belief constructed? Are these teachers conscious of their own beliefs? Are these beliefs related to their teaching experience and seniority? / Through "synthesis text" interview, teachers are provided with the opportunity to reflect their beliefs and discover the unaware "existential presumptions". It was a good chance for them to clarify their blurred perspectives, even to make change of them. / Through four interviewees' sharing of their "life stories" towards art or art education as well as "how" and "why" they transmitted such teaching activities, the researcher found that regardless their teaching seniority, they all showed that art teachers should possess drawing ability. Interactive interviews and self-evaluation of their own "synthesis text" were delivered. The researcher found that during their late phase of teaching life, Wangyi and Zhongliang were aware that they haven't thought seriously about the relationship between art and art education. Hyde, during her early phase of teaching life, thinks that the one who love drawing can be an art teacher. Helen, in her middle phase of teaching life, did not seem to be very clear of what she believed towards art education. Only through several interviews could let her rethink and reconstruct some clues of belief. / 第1冊. 一項敘述性研究 A narrative study -- 第2冊. 四個「全貌的」故事 Four life stories. / Di 1 ce. Yi xiang xu shu xing yan jiu A narrative study -- di 2 ce. Si ge "quan mao de" gu shi Four life stories. / 黃素蘭. / 呈交日期: 2005年12月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 249-266, v.1). / Cheng jiao ri qi: 2005 nian 12 yue. / Adviser: Chi Chung Lam. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4070. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 249-266, v.1). / Huang Sulan.

published_or_final_version / Education / Master / Master of Education

This study examines the ways visual culture influences a child's drawings. The child is my 9-year-old daughter Nada, who was born in Saudi Arabia and is a fourth-grade student temporarily living in the United States. The study uses qualitative methods of data collection and exploratory case study research design as a methodology. The data were analyzed in light of Althusser's theory of ideology, specifically the notion of interpellation, along with visual culture theories. In addition, gender performativity theory, specifically the work of Judith Butler, was used to consider gender issues when these concerns emerged from the study. Nada has been exposed to two diverse cultures, those of Saudi Arabia and the United States. Both cultures may impact Nada's interpretations of her visual surroundings in various ways. Therefore, recognizing and examining how she interacts with US visual culture might help to uncover how such interactions constitute the basis of her perceptions, identities, and critical thinking. Drawing is not only a means of self-expression but also an important function of communication, identity formation, and represents possible ways of being in the world that are related to culture, community, and society as a whole. The study begins with the premise that there is a gap in understanding between the importance of visual culture and its insufficient application in Saudi Arabian art education. The implications of this study may be informative for Saudi Arabian educators, individuals, or groups interested in visual culture education and children's drawings; potentially, the Saudi Arabian educational system may also use this study to enhance its appreciation of the impact of visual culture on the creation of art and knowledge.

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)

This study explored Visual Art creation by Grade 11 learners in the art classroom and the relationship with attaining creativity acumen. Creativity acumen in this instance is looked upon as the ability to visually conceptualize imaginative ideas and then translate that into an individual rendition of a concept presented. The learners first perceive an idea and then conceive a concept. Visual perception is a function of how the eyes and brain see whole images, but these images are broken down into their visual elements, such as lines and shading during Visual Art creation. The visual elements are then created in forming an art-work, which in turn lends itself to understanding complex concepts and themes. Creativity acumen involves two processes: having ideas (creativity-relevant processes) and then producing a visual exposé of such ideas. A literature review was conducted which provided useful insight into the components of the creative process and the contextual factors influencing creativity acumen within the school environment. An empirical study was conducted with six art learners in Grade 11, selected through purposive sampling. Creativity questionnaires were completed pre- and post-art creation as a self-assessment tool of how effectively individual implementation of the creative process occurred during idea development and artistic expression in attaining creativity acumen during Visual Art production, if at all. The art creations were observed from task presentation through to completion deadline. Photographic records of the art creations were captured as they were produced and completed. Interviews were conducted at the end of the art creative process. The data was descriptively tabulated into photo-sheets and tabulated for qualitative interpretation and description of findings and results. From the empirical study it can be concluded that there is a dialectic relationship between the creativity-relevant processes and art-relevant skills, as set out theoretically by Amabile (1996) when creating Visual Art. The relationship is intertwined and compounded by overlapping factors in acumen to be creative and creating an art-work. Both require openness to new ideas and perspectives and both need perseverance and effort to learn new skills and craftsmanship. The conclusion of this study is that creativity acumen and art creation have variation of outcome and expansion of ideas in common. Creativity acumen is a means of extending one’s outlook and ability to question, look for new information, develop ideas independently while art creation is a means of visual expression in learning to elaborate on a concept through externalised representation which guides further possibilities and understanding of new concepts and perspectives. There is a dialectic relationship between art creation and creativity acumen or ability as one possibly informs and develops the other. / Psychology of Education / M. Ed. (Guidance and Counselling)

Orientador: Rejane Galvão Coutinho / Resumo: A tese defendida neste estudo é que a mediação cultural se apropria de repertórios de participação da arte e da educação. Reconheceu durante a investigação elementos das seguintes hipóteses: que a mediação cultural em artes é realizada por profissionais de diversas áreas, que atuam em instituições culturais conjugando repertórios e práticas da arte e da educação a partir de premissas da ação cultural, em caráter dialógico e coletivo em âmbitos educacionais, artísticos ou sociais; que esta atuação pode instaurar ambientes e processos onde é possível experimentar o convívio e a valorização da diversidade a partir do contato com diferentes ideologias; que as publicações com as descrições, narrativas de processos, registros, avaliações e estratégias de circulação de ideias empregadas em projetos de mediação cultural podem constituir um importante material de formação para profissionais da área. Diante das hipóteses formuladas e suas premissas, tomou como objeto de investigação oito projetos de mediação cultural (sendo quatro deles realizados com a participação da pesquisadora). Estudou a partir deles os registros e narrativas sobre atividades artístico-pedagógicas coletivas feitas por profissionais que atuam na mediação cultural em instituições culturais, selecionando quatro projetos que tiveram a intenção prévia de pesquisar as práticas coletivas que promoveram junto de uma rede de profissionais e instituições envolvidos. Submeteu o material analisado aos seguintes questionament... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research seeks for evidences that cultural mediation practices appropriates repertoires of participation of art and education. He acknowledged during the investigation elements of the following hypotheses: that cultural mediation in the arts is carried out by professionals from different areas, who work in cultural institutions combining repertoires and practices of art and education from the premises of cultural action, in a dialogical and collective character in educational, artistic or social contexts; that this action can establish environments and processes where it is possible to experience the conviviality and the valorization of diversity from the contact with different ideologies; that the publications with the descriptions, process narratives, registers, evaluations and strategies of circulation of ideas employed in cultural mediation projects can constitute an important training material for professionals in the area. Considering the hypotheses formulated and its premises, it took as object of investigation eight projects of cultural mediation (four of them realized with the participation of the researcher). He studied from them the records and narratives about collective artistic and pedagogical activities done by professionals who work in cultural mediation in cultural institutions, selecting four projects that had the previous intention of researching the collective practices that they promoted with a network of professionals and institutions involved. The a... (Complete abstract click electronic access below) / Resumen: La tesis defendida en este estudio es que la mediación cultural se apropia de los repertorios de participación del arte y la educación. Reconoció durante la investigación los elementos de las siguientes hipótesis: que la mediación cultural en las artes es llevada a cabo por profesionales de diferentes áreas, que trabajan en instituciones culturales combinando repertorios y prácticas de arte y educación desde las premisas de la acción cultural, en un carácter dialógico y colectivo. en contextos educativos, artísticos o sociales; que esta acción puede establecer ambientes y procesos donde es posible experimentar la convivencia y la valorización de la diversidad a partir del contacto con diferentes ideologías; que las publicaciones con las descripciones, narraciones de procesos, registros, evaluaciones y estrategias de circulación de ideas empleadas en proyectos de mediación cultural pueden constituir un importante material de capacitación para los profesionales del área. Considerando las hipótesis formuladas y sus premisas, la investigacion tomó como objeto de investigación ocho proyectos de mediación cultural (cuatro de ellos realizados con la participación del investigador). Estudiados desde ellas los registros y cuentas de las actividades artísticas y educativas colectivas de los profesionales que trabajan en la mediación cultural en las instituciones culturales, la selección de cuatro proyectos que han tenido una intención previa a la investigación de las prácticas colectiv... (Resumen completo clicar acceso eletrônico abajo) / Doutor