<p>ABSTRACT</p><p>This essay has as its main purpose to examine how teachers handle teaching in art, after the governments steeredocuments and goals to reach.</p><p>To find out about it I have done interviews with four teachers. I have made a study of litterature to introduce some different teaching methods that is more or less meaningful and useable. The result of the examination was different from what I expected. The interviews showed that the four teachers work in varios ways after their own conditions. They have different experiences and also have different opinions about what is most important in the art teaching. They give reasons for why they work the way they do, and have good arguments. They also seems aware of their own work and also about the chortage it might have.</p><p>Kayeords: art teaching, teaching method, creative work</p> / <p>Sammanfattning</p><p>Det här arbetet har som ditt huvudsakliga syfte att undersöka hur lärare hanterar bildämnet i skolan utifrån de riktlinjer och mål som finns uppsatta i grundskolans läroplan och kursplan för bild.</p><p>För att ta reda på det har jag gjort fyra intervjuer med lärare. Jag har också studerat olika metoder i litteraturen, som är mer eller mindre användbara och meningsfulla. Resultatet av undersökningen är ett annat än vad jag hade förväntat mig. Intervjuerna har visat att de fyra lärarna arbetar olika efter sina egna förutsättningar. De har olika erfarenhet och tycker olika saker är viktiga. Lärarna motiverar varför de arbetar som de gör och har bra argument. De är medvetna om sitt eget arbete och de brister det kan ha.</p><p>Nyckelord: bildundervisning, bildämnet, undervisningsmetod, skapande verksamhet</p>

ABSTRACT This essay has as its main purpose to examine how teachers handle teaching in art, after the governments steeredocuments and goals to reach. To find out about it I have done interviews with four teachers. I have made a study of litterature to introduce some different teaching methods that is more or less meaningful and useable. The result of the examination was different from what I expected. The interviews showed that the four teachers work in varios ways after their own conditions. They have different experiences and also have different opinions about what is most important in the art teaching. They give reasons for why they work the way they do, and have good arguments. They also seems aware of their own work and also about the chortage it might have. Kayeords: art teaching, teaching method, creative work / Sammanfattning Det här arbetet har som ditt huvudsakliga syfte att undersöka hur lärare hanterar bildämnet i skolan utifrån de riktlinjer och mål som finns uppsatta i grundskolans läroplan och kursplan för bild. För att ta reda på det har jag gjort fyra intervjuer med lärare. Jag har också studerat olika metoder i litteraturen, som är mer eller mindre användbara och meningsfulla. Resultatet av undersökningen är ett annat än vad jag hade förväntat mig. Intervjuerna har visat att de fyra lärarna arbetar olika efter sina egna förutsättningar. De har olika erfarenhet och tycker olika saker är viktiga. Lärarna motiverar varför de arbetar som de gör och har bra argument. De är medvetna om sitt eget arbete och de brister det kan ha. Nyckelord: bildundervisning, bildämnet, undervisningsmetod, skapande verksamhet

86 puslapiai, 7 paveikslai, 1 lentelė, 99 bibliografiniai šaltiniai. Baigiamąjame magistro darbe pagrindinis šio straipsnio tikslas yra jaunimo mokyklos paauglių dailės mokymas netradicinėmis pamokomis, įvertinant jų efektyvumą. Darbą sudaro trys pagrindinės dalys: literatūros, atlikto mokslinio veiklos tyrimo analizė ir rezultatai, išvados bei rekomendacijos. Šiam tikslui išanalizuota psichologinė, pedagoginė literatūra, švietimo įstatymų dokumentai parodė, kad nėra vieno tinkamo metodo mokyti jaunimiečius dailės, kuris būtų efektyvus įsisavinant mokymo(si) turinį. Jaunimo mokyklos mokiniai mokosi vadovaujantis Bendrosiomis programomis ir išsilavinimo strandartais (2003) ir dažnai mokymosi turinys nėra tinkamai įsisavinimas, nes mokymo(si) kokybę riboja žema paauglių mokymosi motyvacija, destruktyvus ir asocialus elgesys pamokų metu, mokymosi spragos dėl mokyklos nelankymo ar laiku nesuteiktos pedagoginės pagalbos. Praktinė tyrimo veikla jaunimo mokykloje įrodė, kad mokant paauglius dailės, svarbu tinkamai įvertinti paauglių gebėjimus, sugebėjimus bei pomėgius, nustatyti destruktyvaus elgesio priežastis ir jas įvertinti, organizuoti pamokas taip, kad atitiktų paauglių saviraiškos ir kompetencijų lygį, būtų jiems patrauklios ir įdomios. Netradicinių dailės pamokų organizavimas pagrindė, kad integruoti mokymo(si) dalykai ir aktyvieji metodai, diferencijuoto ir individualaus mokymo stiliaus taikymas, šiuolaikinis mokytojo veiklos modelis pamokų metu padėjo paaugliams įgyti... [toliau žr. visą tekstą] / 88 pages, 1 illustration, 6 dockets, 99 bibliographic recourses. In the final Master’s degree thesis the main goal of this paper is art teaching of teenagers of Youth school by non-traditional lessons evaluating their efficiency. This thesis consists of three main parts: analysis of literature, analysis and results of the accomplished scientific performance research, conclusions and recommendations. Analysis made aiming to achieve the goal of the psychological, pedagogical literature and education legislation documents revealed that there is no one appropriate art teaching method at the Youth school that is efficient enough to absorb the learning material. The students of the Youth school are learning according to the General Programs and Education Standards (2003) and very often the learning material is not appropriately absorbed because of limited teaching and learning quality due to low learning motivation of the teenagers, destructive and asocial behavior during the lessons, learning gaps because of low attendance or not timely submitted pedagogical support. Practice research in the Youth school proved that in the art teaching of the teenagers is important to appropriate evaluate their capacities, abilities and interests, determine the reasons of the destructive behavior and evaluate it, organize the lessons in the way that meets the teenagers’ self-expression demand and competence level in order the art learning lessons are attractive and interesting... [to full text]

This thesis researches the proposition that student creativity occurs as a function of misrecognition in the culturally situated context of art classrooms. Following Pierre Bourdieu??s socio-cognitive frameworks of the habitus, symbolic capital and misrecognition this study uses these concepts as a means of navigating teacher-student relationships at moments of creative origination. These concepts predict that exchanges between teachers and students are sites for transactions of symbolic capital where the teacher??s pedagogical role is objectively repressed through the mechanism of misrecognition. The study seeks evidence for creative autonomy as misrecognition as it takes place in classroom transactions and that differing levels of ??tact?? are employed in these exchanges. It emerges that the social reasoning that underscores these exchanges is inferentially sensitive to different contextual points of view, expressed in open secrets, repression, denial and euphemisation. The study finds that the artworks produced evidence degrees of originality that vary in character according to the subtlety of misrecognition that is transacted in these pedagogical exchanges. The case of an art teacher and an art class in the final year of schooling is examined in detail. The design employs an idiographic, qualitative methodology. Methods include observations and interviews which are augmented by digital records. Results are interpreted using a form of semantic analysis and triangulation. Four functions are distilled from the results. These functions govern the way in which misrecognition performs as a contradictory logic in the relationships between the teacher and students which works towards affirming the group??s belief in creative autonomy, while paradoxically, all members take advantage of the contextual inputs that are available. Creative autonomy is revealed as a fiction, nonetheless, a fiction worth nurturing for the successful realisation of creative ends. The study concludes that creativity cannot be strictly taught or learned. Nor is it innate and autonomous. Rather it encompasses a socially intelligent uptake in the culture of artmaking. What is possible is dependent on shared beliefs, desires and intentions which are transformed over time. Broader implications are suggested focusing on the significance of collaboration in creative education and the impact for educational systems, schools and undergraduate programs in art education.

Orientador: Rejane Galvão Coutinho / Banca: Marina Célia Novaes Dias / Resumo: A dissertação relata e analisa uma História de Vida e Formação, mais especificamente da minha formação artística, num percurso que passa pelo extinto Grupo Escolar Experimental da Lapa, como pano de fundo da descoberta de meus valores educacionais e o encontro com àquela que plantou os alicerces para a construção desse caminho: a Professora Hebe de Carvalho. Apresento também algumas dificuldades e desvios realizados nesse percurso para conseguir os meus objetivos: a busca de minha própria expressão até tornar-me um Arte-Educador. No percurso relato e analiso meus encontros com Ana Maria Netto Nogueira, Carlos Alberto Fajardo e Iole Di Natale, assim como minhas passagens pelos Festivais de Inverno da Universidade Federal de Minas Gerais. O encontro com as idéias de Ubirajara Ribeiro são também relatadas, principalmente as reflexões desencadeadas pelo episódio Glorinha de Taubaté. A idéia é que esse trabalho possa despertar em outros professores, em especial nos Arte-educadores reflexões e a respectiva tomada de consciência de sua própria formaçãao, e possa contribuir também com informações para a História da Arte-Educação Brasileira. / Abstract: This paper relates and analyzes a History of Life and Education, specifically my artistic formation in a route starting at the extinct Grupo Escolar Experimental of Lapa, background of discoveries about my education values and my meeting with the one gave the foundations to construct this way: the teacher Hebe Carvalho. I also presente some difficulties and detours in this route to get my purposes: the search for my own expression until became an Art Education. In this route I relate and analyse the meeting with Ana Maria Netto Nogueira, Carlos Alberto Fajardo and Iole Natale as well as my way through Winter Festivais of Minas Gerais Federal University. My meeting with Ubirajara Ribeiro's ideas are related too, mainly those reflections caused by the event Glorinha de Taubaté. The idea is that this work may arouse teachers, especially Art Educators, to reflect about and become conscious of their education and finally contribute with the History of Brazilian Art Education. / Mestre

This thesis deals with the problems of reception of art works. The theoretical part induces this theme. It lists the most common factors which influencing our perception and assessment of art works and watching them from the position of art teacher. The practical part is trying to work with these findings in the glass objects and is also verified in the pedagogical work with children in the gallery.

Made available in DSpace on 2014-06-11T19:24:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-05-07Bitstream added on 2014-06-13T18:21:23Z : No. of bitstreams: 1 triguis_ce_me_ia.pdf: 5197020 bytes, checksum: ff6ada90405e6136eabf751f923ea7b5 (MD5) / A dissertação relata e analisa uma História de Vida e Formação, mais especificamente da minha formação artística, num percurso que passa pelo extinto Grupo Escolar Experimental da Lapa, como pano de fundo da descoberta de meus valores educacionais e o encontro com àquela que plantou os alicerces para a construção desse caminho: a Professora Hebe de Carvalho. Apresento também algumas dificuldades e desvios realizados nesse percurso para conseguir os meus objetivos: a busca de minha própria expressão até tornar-me um Arte-Educador. No percurso relato e analiso meus encontros com Ana Maria Netto Nogueira, Carlos Alberto Fajardo e Iole Di Natale, assim como minhas passagens pelos Festivais de Inverno da Universidade Federal de Minas Gerais. O encontro com as idéias de Ubirajara Ribeiro são também relatadas, principalmente as reflexões desencadeadas pelo episódio Glorinha de Taubaté. A idéia é que esse trabalho possa despertar em outros professores, em especial nos Arte-educadores reflexões e a respectiva tomada de consciência de sua própria formaçãao, e possa contribuir também com informações para a História da Arte-Educação Brasileira. / This paper relates and analyzes a History of Life and Education, specifically my artistic formation in a route starting at the extinct Grupo Escolar Experimental of Lapa, background of discoveries about my education values and my meeting with the one gave the foundations to construct this way: the teacher Hebe Carvalho. I also presente some difficulties and detours in this route to get my purposes: the search for my own expression until became an Art Education. In this route I relate and analyse the meeting with Ana Maria Netto Nogueira, Carlos Alberto Fajardo and Iole Natale as well as my way through Winter Festivais of Minas Gerais Federal University. My meeting with Ubirajara Ribeiro's ideas are related too, mainly those reflections caused by the event Glorinha de Taubaté. The idea is that this work may arouse teachers, especially Art Educators, to reflect about and become conscious of their education and finally contribute with the History of Brazilian Art Education.

Submitted by Renan dos Santos Silva null (renanstos@uol.com.br) on 2016-11-15T14:51:20Z No. of bitstreams: 1 UNESP tese FINAL Renan SANTOS SILVA.pdf: 1312257 bytes, checksum: fa0f5acb32440f8df126d8fbb0096f6a (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-11-21T14:10:24Z (GMT) No. of bitstreams: 1 santossilva_r_dr_arafcl.pdf: 1312257 bytes, checksum: fa0f5acb32440f8df126d8fbb0096f6a (MD5) / Made available in DSpace on 2016-11-21T14:10:24Z (GMT). No. of bitstreams: 1 santossilva_r_dr_arafcl.pdf: 1312257 bytes, checksum: fa0f5acb32440f8df126d8fbb0096f6a (MD5) Previous issue date: 2016-09-26 / Esta pesquisa buscou apreender o delineamento construtivo dos currículos do Curso de Artes Visuais da Universidade Estadual de Londrina – UEL, a partir das motivações históricas da educação brasileira. Assim, foram analisados: o currículo da criação do curso, em 1974, que foi adequado à legislação em 1976, para delimitar o marco de referência, e todas as reformulações realizadas, de 1982, 1992, 1998, 2005 e 2010. Desse modo, empreendeu-se uma busca para a compreensão do ensino de arte e da formação de professores. Tomou-se como suporte uma abordagem de caráter qualitativo, que compreendeu: revisão de literatura, análise de documentos; análise de depoimentos em forma de entrevistas, com professores egressos, atuantes no ensino de arte em escolas públicas da região metropolitana de Londrina PR, e com professores elaboradores dos currículos do Curso de Artes Visuais da UEL. Foram estudadas as configurações curriculares implantadas no curso de formação de professores em arte, com o intuito de se verificar de que maneira os currículos influenciam a formação docente dos egressos e as relações que estes estabelecem entre o currículo e sua práxis no dia a dia em sala de aula. Nesse sentido, compreendeu-se a lógica que subjaz dos diferentes currículos do referido curso, que, confrontada com os depoimentos dos professores, possibilitou a identificação de lacunas e de contribuições para a formação dos professores e a percepção do currículo acadêmico sob outra perspectiva. Assim, concluiu-se que há necessidade de uma melhor articulação interna ao currículo do Curso de Artes Visuais da UEL, bem como desse currículo, articulado ao currículo e à cultura escolar, para a constituição de seus projetos pedagógicos à formação docente. / This research aimed to apprehend the constructive delineation of the Visual Arts Course curriculum of the State University of Londrina - UEL, from the historical motivations of the Brazilian education. So, they were analyzed: the curriculum of the course creation, in 1974, that was adequate to legislation in 1976, to delimit the benchmark, and all reformulations performed, from 1982, 1992, 1998, 2005 and 2010. Thus, a search was undertaken to understand the art teaching and teacher training. It was taken as support a qualitative approach, that included: literature review, analysis of documents; analysis of testimony, in the form of interviews, with egresses teachers, working in art teaching in public schools in the metropolitan area of Londrina PR, and with elaborators teachers of curriculums of Visual Arts Course of the UEL. Were studied the curriculum settings implemented in the course of teacher training in art, in order to verify how the curriculum influence the teacher training of egresses and the relationships that they establish between the curriculum and their praxis in day to day in class. In this sense, It was realized the logic behind the different curriculums of that mentioned course, that, faced with the testimony of teachers, allowed the identification of gaps and contributions to teacher training and the perception of the academic curriculum from another perspective. Thus, it was concluded that there is need for a better internal articulation to Visual Arts Course Curriculum of the UEL, as well as this curriculum, linked to curriculum and school culture, for the constitution of its pedagogical projects for teacher training.

Submitted by ELIZABETH ROSSI DE GRANDE (betharte75@gmail.com) on 2018-05-23T01:32:16Z No. of bitstreams: 1 DISSERTACAO_Elizabeth.doc: 13647360 bytes, checksum: f930261dfe1f68fbdaeb21889446d4e4 (MD5) / Rejected by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: O arquivo submetido deve estar em formato PDF. Agradecemos a compreensão on 2018-05-23T12:54:45Z (GMT) / Submitted by ELIZABETH ROSSI DE GRANDE (betharte75@gmail.com) on 2018-05-23T19:13:01Z No. of bitstreams: 1 DISSERTACAO_Elizabeth.pdf: 3176851 bytes, checksum: 96dc52c569b28a051e8c7653939d9c77 (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-24T16:57:18Z (GMT) No. of bitstreams: 1 grande _er_me_bauru.pdf: 3088711 bytes, checksum: f0d130b408013b597b5be935d1b86f40 (MD5) / Made available in DSpace on 2018-05-24T16:57:18Z (GMT). No. of bitstreams: 1 grande _er_me_bauru.pdf: 3088711 bytes, checksum: f0d130b408013b597b5be935d1b86f40 (MD5) Previous issue date: 2018-03-22 / Apresenta-se uma proposta de sequência didática para o Ensino de Arte, especificamente no Ensino Fundamental 1, alicerçada na pedagogia dialógica e que faz uso das tecnologias da informação e comunicação como meio para realizar a interlocução educação – arte – cultura. De Paulo Freire trazemos concepções pedagógicas indispensáveis para o rompimento com a prática mecânica da alfabetização a partir da opção pela “palavra chave ou palavramundo”, definida pelo educador como a palavra carregada do sentido do mundo, cuja leitura deve preceder a leitura da palavra e o estudo dos conteúdos nas demais áreas do conhecimento. Os estudos de Ana Mae Barbosa, referência no ensino contemporâneo de arte, são modelos na sistematização de ações pedagógicas problematizadas por meio da leitura, da contextualização e do fazer artístico, dinâmica que fortalece a comunicação no espaço escolar e que oferta oportunidade para que o educando se encontre com sua cultura, história e raízes, dialogando constantemente com as mesmas de forma articulada e relacional. Com este mote buscamos compreender como as tecnologias da informação e da comunicação podem ser meio de interlocução e diálogo entre os envolvidos no processo educativo, favorecer a aproximação no exercício da interculturalidade democrática e operar de forma assertiva na quebra da hegemonia ou prevalência de uma cultura sobre a outra. Presumimos que as TIC podem favorecer a comunicação entre os diferentes atores do processo educacional no eixo horizontal do saber, fortalecendo a instituição escolar como local do conhecimento nas suas diversas manifestações científica, artística, cultural e tecnológica. / This research presents a proposal of a didactic sequence for Art Education, specifically in Elementary Education 1, based on a dialogical pedagogy that makes use of information and communication technologies as a means to carry out the education-art-culture interlocution. From Paulo Freire we bring indispensable pedagogical concepts that break with the mechanical practice of literacy by the option of "keyword” or “palavramundo", defined by the educator as the word loaded with the meaning of the world, whose reading must precede the reading of the word and the contents in the other areas of knowledge. The studies of Ana Mae Barbosa, a reference in contemporary art education, serve as model in the systematization of pedagogical actions that are problematized through reading, contextualisation and artistic making, a dynamic that strengthens communication in the academic space and which offers the opportunity for the student to meet with their own culture, history and roots, constantly dialoguing with them in an articulated and relational way. With this motto we seek to understand how information and communication technologies can be instrument of dialogue and interlocution among those involved in the educational process, favoring the approach in the exercise of a democratic interculturality and operate assertively in breaking the hegemony or prevalence of one culture over the other. We assume that TIC can foster communication between the different actors of the educational process in the horizontal axis of knowledge, strengthening the school institution as a place of knowledge in its various scientific, artistic, cultural and technological manifestations.

Esta dissertação de mestrado tem como objeto de estudo o ensino aprendizagem da arte em ateliê de artes visuais para crianças entre sete e doze anos. Relata experiências em um ateliê na escola; o histórico do Ateliê de Artes Visuais Para Crianças do Departamento de Artes Plásticas da Escola de Comunicações e Artes da Universidade de São Paulo e a prática-teóricopoétic em um ateliê experimental, de iniciação à cerâmica, para análise e considerações sobre esta pesquisa. / The present master thesis brings as its research object the art teaching in visual arts ateliers in which participate children from seven to twelve years old. The dissertation considers, for this research analysis and conclusions, experiences in school context; experiences at the Atelie de Artes Visuais para Crianças (visual arts atelier for children held by the visual arts department of arts and communication college of University of São Paulo); and the theoric-poetic-practice of an experimental atelier of ceramics fundaments at the same department.