Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 120-125). Also available on the Internet.

Thesis (Ph. D.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2009. / Full text also available online. Scroll down for electronic link.

Thesis (Ed. D.)--Illinois State University, 1998. / Title from title page screen, viewed July 3, 2006. Dissertation Committee: Jack Hobbs (chair), Marilyn P. Newby, Robert L. Fisher, Linda M. Willis Fisher, Richard A. Salome. Includes bibliographical references (leaves 132-136) and abstract. Also available in print.

Orientador: Agnus Valente / Banca: Rita Luciana Berti Bredariolli / Banca: Cecília Almeida Salles / Resumo: Refletindo sobre o espaço de construção do saber antes permeado pelas discussões sobre produções artísticas e pelo diálogo e agora tomado por certezas e pelo monólogo, uma primeira evidência: o distanciamento entre minha prática pedagógica e minha prática artística. Diante desta fragmentação entre os pensamentos (theoria, práxis e poiesis) esta dissertação propõe discutir, a partir das fragmentações que circundam o ensino de arte seja na instituição através do tempo, do espaço e do saber, como também na figura do próprio educador - e como isto interfere no ato educativo. Propõe-se, então, uma reflexão sobre a relação dialógica que se constrói entre mestre e 'aprendente' através das relações entre Tarsila do Amaral e Antônio Carlos (Tuneu) Rodrigues; bem como entre Shoko Suzuki e Sumaya M. Moraes, aos olhos de Rancière e Freire, além de Bourriaud que ajudará a pensar a relação além do diálogo; Valente a partir do 'Hidridismo Interformativo' e Salles através da 'Crítica Genética' . E essas relações transpostas para a sala de aula pela figura do educador A/R/Tógrafo - a partir da A/R/Tografia de Irwin - apresenta-se como possibilidade de busca dessa transformação. / Reflecting on the construction space of knowledge before permeated by discussions of artistic productions and dialogue and now taken for certainty and the monologue first evidence: the gap between my teaching and my artistic practice. Given this fragmentation between thoughts (theoria, praxis and poiesis) this dissertation aims to discuss the fragmentations that surround the art of teaching is the institution through time, space and knowledge as well as the figure of the educator himself and how this interferes with the act educational. It is proposed, therefore, a reflection on the dialogic relationship that is built between master and 'learner' in the relations between Tarsila do Amaral and Antonio Carlos (Tuneu) Rodrigues; and Shoko Suzuki and Sumaya M. Moraes, in the eyes of Rancière and Freire, and Bourriaud will help to think the relationship not only dialogue; Valente from 'Hidridismo Interformativo' and Salles by 'Critical Genetics'. And those relationships translated into the classroom by the teacher A/RTography figure - from the A/R/Tography by Irwin - presents itself as a possibility to search for this transformation. / Mestre

The purpose of this research was to examine the impact of a University summer institute, and to determine whether the participants felt it had changed their ways of teaching art, brought them greater success or encouraged them to share ideas about art education. This research also examined what factors are necessary for creating change for teachers and questioned whether a University institute would be able to provide enough of those factors to induce change. An investigation of the literature in the area of curriculum change revealed that teachers require a great deal of support and an extensive amount of time for change to occur. A University course such as the Institute cannot provide much support or time. Through questionnaires, interviews, and additional information provided through a recall session conducted with the participants of the institute, it was possible to determine that for the majority of participants there was a perception that their art classes had undergone change and achieved greater success. For some of the participants the Institute had also caused them to share more information about art education with colleagues. For some, this change was extensive and for others less so but this study indicates that a University institute can make a significant contribution to effecting change for teachers. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

published_or_final_version / Education / Master / Master of Education

Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";

Thesis (MMus (Music))--University of Stellenbosch, 2009. / In 1994 the first democratic election took place in South Africa. Since then large initiatives have been undertaken on national level to redress the inequalities of the past. One of these areas where drastic transformation was needed, is the education system of the country. A National Qualifications Framework was created and Outcomes Based Education was used to implement a new curriculum. This required a total paradigm shift of teachers in terms of how they thought about education as well as changes in their teaching practice. The learning area Arts and Culture was included in the new curriculum to provide all learners with equal opportunities to take part in and enjoy the arts, cultural expression and conservation of heritage as a basic human right. The learning area however brought about unique problems for the teacher, as it is multidisciplinary and most teachers were not trained to facilitate it. Initially it was given to teachers who were specialists in one or the other of the arts disciplines, but these teachers progressively left the education system, and since then the learning area has fallen into the hands of nonspecialists. The Department of Education has launched various training opportunities to empower teachers, but without much success. Teachers remain inadequately qualified regarding subject knowledge and skills to bring the learning area to fruition and to reach the goals of the curriculum. In the process learners are deprived of important opportunities for experiences in the arts and teachers become increasingly demotivated. Thus, in South Africa there exists a dire need for effective in-service training and professional development of Arts and Culture teachers in order to empower them to take their place in the unlocking and transmission of the spiritual goods of the human race to our youth. This study investigates the true problems of Arts and Culture teachers in South Africa by placing the process of transformation in the education system after 1994 into context and viewing Outcomes Based Education, the learning area Arts and Culture and the development of teachers through the looking glass. Three forms of training for teachers are compared to try and find a possible best way to address these problems and to determine whether effective in-service training of Arts and Culture teachers leads to professional development, empowerment, a more positive vocational disposition and motivation. Training on a one-to-one basis lead by a specialist teacher emerges as the most effective alternative form of training.

Thesis (MEd)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study focuses on the perception of Creative Arts educators in the Intermediate Phase with regard to their own competency levels to teach Creative Arts effectively. Creative Arts consists of four art forms, namely Dance, Music, Drama and Visual Arts. The ideal is that all Creative Art educators are competent enough to teach the different art forms effectively. To answer the research question in order to achieve the goal of the study, the researcher made use of a qualitative research design from within an interpretive research paradigm. A case study strategy has also been applied by the researcher in order to obtain data pertaining to the specific aspect of the study, namely Creative Arts educators. Various sources were used to generate the data, namely semi-structured interviews, questionnaires and document analysis. Various precautionary measures were taken to ensure the validity and reliability of the data. During the course of the investigation, ethical issues were in question. However, the researcher followed the necessary guidelines to ensure that all endeavours were ethically acceptable. In the literature study the curriculum review process as well as the inclusion of Arts and Culture and Creative Arts in the curriculum is analysed. The training of Creative Arts educators and the challenges that this subject poses to schools and other mainstream educators are also considered. It was established that mainstream educators are often unable to teach this subject with the required confidence, knowledge and skills. Taking the results of this study into account, it appears that Creative Arts educators are not trained sufficiently in the four art forms, which influences the way in which the subject is taught. Educators who have received training in only one of the art forms tend to emphasise that particular art form only. The results of the study clearly indicate that the educators will only be able to do justice to Creative Arts as a subject if they are trained sufficiently to teach it with the necessary confidence and skill. / AFRIKAANSE OPSOMMING: Hierdie studie fokus op die persepsies van Skeppende Kunste-onderwysers in die Intermediêre Fase rakende hul eie bevoegdheidsvlak om Skeppende Kunste doeltreffend te onderrig. Skeppende Kunste bestaan uit vier kunsvorme, naamlik Dans, Drama, Musiek en Visuele Kunste. Die ideaal is dat elke Skeppende Kunste-onderwyser bevoeg genoeg is om elkeen van hierdie kunsvorme doeltreffend aan te bied. Om die navorsingsvraag te beantwoord om die doel van die studie te verwesenlik, het die navorser ʼn kwalitatiewe navorsingstudie vanuit die interpretatiewe navorsingsparadigma onderneem. Die navorser het ook gebruik gemaak van ʼn gevalle-studiestrategie om data oor die spesifieke geval, naamlik Skeppende Kunste-onderwysers, in te samel. Daar is gebruik gemaak van veelvuldige bronne, naamlik semi-gestruktureerde onderhoude, vraelyste en dokumentontleding, om data te genereer. Verskillende stappe is gedoen om die geldigheid en betroubaarheid van die data te verseker. Tydens die ondersoek het etiese kwessies na vore getree, en die navorser het die nodige riglyne gevolg om seker te maak alle handelinge is eties. In die literatuurstudie word die kurrikulumhersieningsproses asook die insluiting van Kuns en Kultuur en Skeppende Kunste in die kurrikulum van naderby beskou. Verder word daar gekyk na die opleiding van Skeppende Kunste-onderwysers en die uitdaging wat hierdie vak aan skole en algemene opgeleide onderwysers bied. Daar is bevind dat algemene opgeleide onderwysers dikwels nie bevoeg voel om hierdie vak met die nodige selfvertroue, kennis en vaardighede aan te bied nie. Uit die resultate van die studie blyk dit dat Skeppende Kunste-onderwysers nie voldoende opgelei is in al vier kunsvorme nie, en dat dit wel ʼn invloed het op die manier waarop die vak aangebied word. Die onderwysers is geneig om die kunsvorm waarin hul wel opleiding ontvang het, te beklemtoon. Uit die studie is dit duidelik dat die vak Skeppende Kunste slegs tot sy reg sal kom indien onderwysers wat dit aanbied voldoende opgelei is om die vak met die nodige selfvertroue en bekwaamheid te onderrig.