<p> This is a quantitative non-random experimental study involving two ceramics classes in a California public high school. One class will be the control group of the study while the other will be the experimental group. The control group will be taught in a traditional unit of ceramics instruction (TUCI), while the experimental group will be taught in a critical pedagogy unit of ceramics instruction (CPUCI).</p><p> This experimental study rests on three hypotheses. Hypothesis 1, an experimental group of high school ceramics students exposed to a CPUCI whereby the students are active participants in the curriculum, are hypothesized to demonstrate a significant increase in their civic engagement between pretest and posttest, while in high school and in their intentions after graduating. Hypothesis 2, A control group of high school ceramics students exposed to a TUCI is predicted to demonstrate no significant shift in their civic engagement between pretest and posttest. Hypothesis 3, the experimental group of high school ceramics students taught with a CPUCI, are hypothesized to demonstrate a significant increase between pretest and posttest regarding their civic engagement in comparison to a control group of high school students taught with a TUCI. </p>

<p> Interviews and observations conducted with four Directors and four Teaching Artists at different nonprofit art organizations in a West Coast city within one of the largest urban areas in the country. Questions were given to further understand how these areas impact one another and why it is important to provide quality art education to the public. The study shows how despite the difference in size of each organization in the study, they all rely on the same things from their funders, and all believe their art programs provide an impact on their community. Research was done to see how Teaching Artists focus on the art education they are providing, whether they are required to perform other tasks, and how this impacts the education programs. The Directors of each organization were asked what more they would like to see from their funders. They all stated that it would benefit their program if the funders understood more about the role of their art programs. This research may benefit funders, other nonprofit art organizations, and Teaching Artists employed by nonprofit art organizations.</p><p>

This research investigates the effects of an art therapy stress management program. The purpose of this thesis project was to (1) identify the symptoms of stress and how it affects the body, (2) to study the most effective strategies used to treat stress symptoms, and (3) to develop a stress management workshop to those who need better coping skills in order to reduce stress in their lives. The prevalence, cause, consequences, effects of stress on the body, and personality characteristics most affected by stress were examined.

Thesis (M.Ed.)--Kutztown State College, 1963. / Source: Masters Abstracts International, Volume: 45-06, page: 2749. Typescript. Includes bibliographical references (leaves [46]-48)

Thesis (PH.D.) -- Syracuse University, 2002. / "Publication number AAT 3045779"

Thesis, PlanB (M.S.)--University of Wisconsin--Stout, 2005. / Includes bibliographical references.

<p> Today&rsquo;s art educators are pressed to demonstrate the worth of their classes in a competitive educational market where finances are limited, STEM fields are highly valued and schools must demonstrate advances on standardized tests. This thesis includes a historical review of trends in education in general, and art education in specific, since the 1950s when John Dewey&rsquo;s progressive education theories were most influential. This in-depth overview provides a context for the challenges art educators face today as well as providing potential solutions to those challenges. In Tim Burton&rsquo;s 2010 movie adaptation of <i>Alice in Wonderland,</i> the Mad Hatter challenged Alice to recover the &ldquo;muchness&rdquo; she had lost. Using contemporary language and scholarship, this thesis articulates a basis for recovering the muchness in art education.</p><p> The thesis includes an innovative eighteen-lesson curriculum plan designed to help high school students find their &ldquo;muchness&rdquo; which exploring Photoshop. This program values diversity and highlights the work of artists who share heritage, race or history with the students, and incorporates cross curricular language and communication goals and includes development of Studio Habits of Mind (Hetland, Winner, Veenema, 2007) and 21^st Century skills (Jenkins, 2009) using the Principles of Possibility (Gude, 2004). This dynamic curriculum supports the author&rsquo;s contention that art education is and can be &ldquo;much more muchier&rdquo; than it is given credit.</p><p>

abstract: This study will explore the role and impact of socially engaged art (SEA) on participants when presented through an interactive and nomadic mobile context. Using an action research methodology, I will use a pop-up camper to serve as research and art making hub. I will travel with the hub to various locations throughout Arizona working with participants to create an artistic response to prompts that encourage them to think about their own communities and participants’ roles within them. Some of these pieces will travel with the hub to future locations, serving as a point of response and/or engagement for participants from other locations or even from future visits to the same location. SEA invites participatory and dialogical interaction through art-making. Using SEA as a pedagogical approach could present alternative teaching and learning methods and locations possible to art educators. Because socially engaged art is heavily focused on agency (Helguera, 2011), responsibility of the arts to impact social change and influence (Bae & Shin, 2019), embraces tools and processes not exclusive to the art studio (Helguera, 2011), and leans heavily on collaboration and dialogue (Chalmers & Desai, 2007), it is an ideal method for creating and examining potential bonds between communities and their educators. This study will also explore how the nomadic state of the research hub impacts the researcher (artist/teacher) and the participants. The pop-up camper exemplifies temporality and limited access, using mobility to evaluate spaces, borders, and communities as a state of fluctuation and fluid movement. Potential impact on the researcher and participants could occur through the experience of a common item, such as the camper, repurposed for something totally different. Moreover, as an artist and educator, engaging with communities through either of these perspectives could cause a considerable impact on the artist/educator pedagogical and artistic practices. / Dissertation/Thesis / Masters Thesis Art 2020

Abstract not available

The normal course of development in art usually reaches a plateau in adolescence beyond which further expansion of creative expression rarely takes place. The essential causes of this plateau are generally considered to be related to increasing self-consciousness in adolescents caused by growing awareness of societal and/or peer influences and expectations regarding their visual expressions, and increasing reliance upon logical modes for thinking and verbal means for communicating. Thus, earlier productions characterized by creative schemas synthesizing color, line and shape are replaced by unimaginative, stilted and stereotypical reproductions. This study is an approach to altering the adolescent plateau in art development via a device which attempts to alter accepted modes of perceiving, knowing, and depicting, and to stimulate latent, creative imaging. The vehicle used is Guided Imagery Technique (GIT), a process by which suggestions, offered by one individual, alter and/or direct the images fantasized, processed and produced by another. GIT is characterized by general relaxation of participants, and reduction of external and internal stimuli considered to impede creative processing. A stratified sample based on reading scores involved 10 "high" and 10 "low" 7th grade students in drawing a garden during three treatments presented via taped instructions over four-week intervals. Passive exposure to instructions of "Draw a Garden" (Stage 1) was followed by informal goal directed instructional "Draw a Make-Believe Garden" (Stage 2) and then GIT for Stage 3 drawings. Quantitative and qualitative measures were used to analyze results, including self-questionnaires, blind judging of drawings for creativity, direct observations, and personal interviews. Findings indicate that drawings from Stage 3 (GIT) showed a significant gain in creativity in both groups compared to other stages. The "high" group experienced a larger gain than the "low". A group difference in progression through stages was also noted. Students reported involvement with GIT enhanced their imagination, vivified imaging, freed them from conventional restraints, thus facilitating creative drawing, and served as an experience they wished to repeat. Marked changes occurred in degree and type of student involvement during Stage 3 (GIT) over other stages.