Thesis (Ed. D.)--Illinois State University, 1993. / Title from title page screen, viewed February 27, 2006. Dissertation Committee: Lanny Morreau (chair), Ron Halinski, Pamela Hardaway-Wheeler, Frances Anderson, Thomas Caldwell. Includes bibliographical references (leaves 99-108) and abstract. Also available in print.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4078. Advisers: Liora Bresler; Daniel Walsh. Includes bibliographical references (leaves 182-186) Available on microfilm from Pro Quest Information and Learning.

<p> Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers&rsquo; sense of identity as teachers and artists is affected by appropriation of these standards.</p><p> The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.</p><p> To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana&rsquo;s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.</p><p> Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers&rsquo; teaching and teaching licensure including traditional and alternative licensures.</p><p>

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This research study provides answers to questions pertaining to current practices in the art museum field regarding socially responsive programming and the motivations for developing and implementing such programs. Socially responsive programming is programming that encourages dialogue and debate about social, economic and political issues in order to promote honesty, fairness, concern for the rights and welfare of others, empathy, and compassion (Desai & Chalmers, 2007). The study engaged a mixed methods approach by utilizing a survey and three case studies. The purpose of the survey was to gauge the position of the field in relation to their values and support of socially responsive programs. Janes’ and Conaty’s (2005) four characteristics of socially responsive museums: seeing social issues and acting to create social change (idealism); building and sustaining strong relationships with the community (intimacy); investing time for reflection and resources to fully understand social issues (depth); and judging the museum’s worth, not based on building size, prestige of collections, or attendance numbers, but on the quality programs a museum provides to the community (interconnectedness) guided the construction of the survey and served as an analytical tool for the case studies. The survey sample resulted from distributing the survey through major museum-themed listservs. The survey also aided in identifying three exemplars of socially responsive museum. These institutions, Museo de Arte Contemporáneo de Monterrey, the Columbus Museum of Art, and the San Angelo Museum of Fine Arts, comprised a purposeful sample in order to further investigate museum staff members’ motivations for creating and instituting socially responsive art museum practices. / text

<p> The affective domain of loneliness is an essential creative force in children's lives. Unwanted solitude, although disparaged in our culture, is a theme that takes center stage in stories. This study explores the ways in which Loneliness as an active archetypal presence operates in positive ways in children's imaginations as revealed by children's literature, folklore, film, and myth. The isolated orphan or banished outsider lost within the wilds of narrative <i>makes</i> and enriches her emergent world using the tools of the body, imagination, and voice. Utilizing the modalities of visual art, dramatic play, and lyrical storytelling, inventive companions and elaborate landscapes are constructed which succeed in soothing and expanding the child's psyche.</p><p> Employing the archetypal psychology approach, this study imagines (and personifies) Loneliness as the youngest of three sisters: Solitude, Aloneness, and Loneliness. Although these three siblings share similar genetic traits and are woven together in countless tales, Sister Loneliness stands apart as a unique archetypal actor. She is far more restless and angst-ridden than her sisters. Dissatisfied with her companionless state, she holds within her a yearning&mdash;the desire/<i>eros</i>&mdash;to construct a new cosmology filled with inventive possibilities. This dissertation qualitatively describes these vast and varied universes.</p><p> In conjunction with an analysis of well-known (and lesser-known) children's stories, the research examines Loneliness's real-world creations in the classroom and therapeutic settings, including children's drawings, sand play constructions, stories, and poetry. Further areas of focus are the role of the adult in solitary geographies, the gendered-base response to loneliness, and the transitional object as a vital compass on the path towards individuation.</p><p> Key Words: loneliness, creativity, children's literature, child development, folklore.</p>

Orientador: Kathya Maria Ayres de Godoy / Banca: Lilian Freitas Vilela. / Banca: Maria Cândida Soares Dell Masso / Resumo: Esta dissertação tem como objetivo discutir e refletir sobre a coeducação entre gerações a partir de minha participação como pesquisadora e agente colaboradora no processo de criação de Memorial dos ossos ou o que existe de inter-resistente em mim (2014), desenvolvido pelo grupo Flor de Pequi - brincadeiras e ritos populares (Pirenópolis - GO), sob direção de Daraína Pregnolatto e Daniela Dini. A reflexão decorrida desta experiência visa responder às perguntas centrais: o que a coeducação entre gerações proporcionou ao processo de criação de Memorial dos Ossos? Quando e de que maneira a coeducação se apresenta? E ela permite e proporciona material para um processo de criação? Fizeram parte do processo de criação objeto desta pesquisa 44 pessoas de 4 a 98 anos, tendo 27 delas permanecido até o fim, como parte do elenco ou equipe de criação. O ambiente, o tempo, as ações e os agentes da educação não-formal compõem o território e o lugar deste estudo. Em termos metodológicos, trata-se de uma pesquisa empírica com abordagem qualitativa em que foram utilizados os instrumentos de coleta de dados: observação participante, diário de bordo, registros audiovisuais e coleta de depoimentos. As referências teóricas desta pesquisa são Walter Benjamin (1994; 2002), que nos ajuda a discutir a oralidade, narratividade e experiência; Larrosa (2011; 2014a; 2014b; 2014c) que ilumina a ideia de experiência na pesquisa; Simone de Beauvoir (1990) que contribui a respeito do lugar do idoso na sociedade; bem como Paulo de Salles Oliveira (1996; 1998; 2008; 2011) e José Carlos Ferrigno (2009; 2010; 2012; 2013), que embasam as reflexões acerca da coeducação entre gerações de forma mais específica. / Abstract: This dissertation aims to discuss and reflect on coeducation between generations conducted by my participation, as researcher and as collaborative artist, at the creation process of the performance Memorial dos ossos ou o que existe de interresistente em mim (2014), developed by Flor de Pequi - brincadeiras e ritos populares (Pirenópolis - GO), directed by Daraina Pregnolatto and Daniela Dini. The reflection elapsed from this experiment aims to answer the central question: what did coeducation between generations provide to the dance creation process of Memorial dos Ossos? When and how coeducation presents itself? Does it allow and provide material for a creation process? The focus of this investigation are 44 people of 4-98 years old, of which 27 remained until the end, as part of the cast and creative team. The environment, the time, the actions and the agents of non-formal education compose the territory and the emplacement of this study. In terms of methodology, it is an empirical research with qualitative approach in which data collection instruments were used: participant observation, logbook, audiovisual recordings and collection of testimonies. The theoretical references of this research are Walter Benjamin (1994; 2002), which helps us to discuss orality, narrative and experience; Larrosa (2011, 2014a, 2014b, 2014c) that illuminates the idea of experience in research; Simone de Beauvoir (1990) which contributes about the place of the elderly in society; and Paulo de Salles Oliveira (1996; 1998; 2008; 2011) and Jose Carlos Ferrigno (2009; 2010; 2012; 2013), that support the reflections on coeducation between generations more specifically. / Mestre

This dissertation focuses on understanding how art education is structured within high schools and colleges of Saudi Arabia, and investigates why educational institutions are focused on traditional art. While contemporary art is not a part of curriculums in high schools and colleges, in fact, practicing artists produce both traditional and contemporary artwork outside of educational institutions. The dissertation points to a disconnect between how art education is structured and perceived within educational institutions and how students learn and perceive art and art making during their transition from high school art to college art, and later as practicing artists. Interviews, observations, and document analysis illuminate how administrators, art educators, students, and artists perceive art and art making. Findings uncovered two main categories influencing the status quo: institutional dynamics and social dynamics. The art education system in Saudi Arabia is influenced by what is culturally acceptable, at the high school and college level. There is, however, a difference in terms of the liberty students are provided depending on their educational level. Practicing artists in Saudi Arabia also discuss the difficulties they face as a result of making contemporary art. The lack of knowledge about contemporary art has made it challenging to find supportive audiences in Saudi communities because of their ignorance about contemporary art and the availability of new media to inform them. Social dynamics such as religion, tradition, and gender are critical underlying factors directly linked to institutional structuring of art education. The findings in this study also reveal how older practices relating to arts and crafts are considered to represent ideal and acceptable art forms. Discussion and educational implications point to institutional and social dynamics at play, which hinder the progress of art education inside and outside of educational institutions. I recommend that change could take place gradually to improve the outlook on art education. Taking steps, such as educating individuals at the administrative level about contemporary art, ensuring educators possess proper qualifications to teach different forms of art, and considering the age group of students may go a long way in improving the value of art in Saudi society.

Thesis (Ed.D.)--University of Toronto, 2005. / Includes bibliographical references (p. 265-287)