In this study, I examine how the University of Arizona Museum of Art (UAMA) can best serve the University of Arizona campus community by providing resources to professors that bring their classes to the museum. A review of literature connects research about learning in museums to k-12 choice-based teaching approaches. The methodology section provides an overview of data collection methods and an explanation of each resource used in the study. Through a qualitative case study, I use the collected data from interviews, visual analysis of student resources, and researcher notes to discuss and analyze the research questions. The findings result in the development of a resource for the museum to provide additional information to professors. The study informs future research needs in museums and contributes to a growing knowledge of how visitors learn in museums and how museums best serve their visitor populations.

This thesis explores the strong support for collaboration in schools’ while synthesizing literature already conducted on the subject. The primary objectives of this thesis is to discuss possible scenarios as to why educators are not collaborating, explore characteristics and implementations of collaboration with three specific groups including colleagues, stakeholders, and practicing professionals, and identify four key benefits of collaboration which include improved health, pedagogy, autonomy, and time. Evidence supports the idea that teachers who work in isolation can hinder growth within their profession. Additional evidence provides conclusive evidence that supports the benefits of collaboration by adding responsibilities to key contributors by holding them accountable for student learning.

This thesis investigates how my representations of experience through arts-informed autoethnographic research are significant in establishing the pedagogical nature of place. I seek to understand how place-conscious education in a community setting can encourage students' relationships with the spaces they inhabit and lend to a more just learning environment. Many educative tools are provided and analyzed which are derived from wayfinding and psychogeographic methods. Data was collected over two months throughout the Summer of 2015 while participating in the Onward Israel service learning program in Israel and Palestine. My digital photographs and excerpts of stream-of-consciousness style poetry serve as the data set to illuminate the rich sensory encounters and art making processes indicative of experiential learning. This context-driven artwork encourages questions and dialogue about sociopolitical conflict and wars, migration and occupation. It is concerned with physical as well as psychological borders, checkpoints and boundaries. I utilized poetic and photographic inquiry as well as cognitive mapping to explore how concepts of travel are intricately linked to practices of self-reflexivity, community building and alternative curricula development outside of the formal classroom setting. This qualitative data is not a strictly defined set of interviews or statistics. Instead, vignettes of a more totalizing experience can be extracted, analyzed, dissected and/or rearranged. It is an exploration of identity, agency and untraditional ways of knowing the self/Other. I underscore how new pathways and possibilities for teaching emerge from a greater acceptance and validation of experiential knowledge and an attuned consciousness to place.

The focus of this thesis was to gather data by survey on the utilization of VMFA resources by Virginia, K-12 public and private school teachers. Currently there is a lack of research on how teachers utilize art museum resources. I sent a Web-based survey to 800 teachers in the state of Virginia. One hundred seventy six teachers responded and the data was analyzed to determine their backgrounds and utilization of VMFA resources. All data was entered into tables in both numerical form and percentages. My analysis of the data showed that teachers utilize resources most frequently for art history discussion and studio project motivation. In their classrooms, teachers most frequently use poster kits and video/DVD from VMFA.

Research indicates that gifted learners have a heightened sense of responsibility to use the knowledge they acquire in the classroom in a purposeful way. Realizing this fact, art service learning experiences were designed to offer gifted middle school artists opportunities to use their knowledge and skills beyond the classroom setting in an attempt to experience real-world situations and to share their artworks in ways that benefit their community. Students participated in 2 community-directed projects in an effort to educate, inspire, and help others. Art products include decorative benches created as a traveling exhibit for environmental awareness and note cards rendered from student paintings that support the rejuvenation of the Elizabeth River.

This study is a curriculum research project that focuses on teaching the traditional arts of Ghana and enduring artistic ideas to Ghanaian basic school students. It has been designed based on data from a survey conducted with experts in Ghana arts history and on the traditional arts of Ghana. The curriculum covers the major arts practiced by the traditional artists. It also recognizes some contemporary Ghanaian artists and their artworks. This study offers insights into Ghanaian basic school art teachers’ philosophies and experience with their traditional arts. Through analysis of the findings, the major themes that emerged were changes in the assessment strategies of the national curriculum for Creative Art subject, the opportunities this new curriculum might bring to multicultural education, and the positive effect this curriculum has had on teachers’ understanding and designing of traditional art lessons.

In this thesis project, my intention was to integrate diverse high school courses with poignant subject matter to increase the amount of learning students can achieve. This unit plan explored a Prince George High School (Virginia) multi-class cooperative effort involving biodiesel production. The project involved creating a biodiesel refinery built by Production Systems classes according to plans purchased from the Internet. The research for converting used kitchen oil into biodiesel and the titration of the fuel was conducted by Chemistry classes. Graphics Imaging Technology students created a logo, a poster, and designed brochures that described the processes and benefits of this product. Marketing classes conducted consumer surveys and devised a product distribution plan.Graphic Imaging Technology, a Career and Technical Education course, has long been linked to art education. For example, graphic design students incorporate art in many phases of their design projects. Specifically, during their preliminary creative thinking, students sketch thumbnails of possible design solutions and regularly use their drawn or painted illustrations in their printed pieces. Additionally, film photography, which is commonly viewed as a fine art, has been used by graphic design students for several years. This art form has been replaced by digital photography in many design studios and school classrooms, but the principles of balance and composition remain the same.Other teaching strategies such as interdisciplinary study have also been introduced into graphic design and art class curricula. The rise in cross-curricular studies is indicative of the importance of varying the classroom instruction to offer the most diverse learning environment to students. Math and English are most often combined with unrelated classes in multi-discipline education, but regrettably, science classes typically are not. Since few fields of endeavor do not incorporate other disciplines, a multi-discipline class collaboration and unit plan which included high school Production Systems, Chemistry, Graphic Imaging Technology, and Marketing classes was developed.This project sought to establish a working relationship among various high school classes while providing a mutual learning environment. Additionally, disciplines that do not ordinarily interact with each other had the chance to take part in an renewable energy project that inspired new ideas and developed an increased consciousness of the environment.Finally, as students were involved in all facets of this biodiesel project, they experienced a working environment similar to the "real world". Establishing school-to-work programs that facilitate a smooth transition from high school to the work force is one of the main goals of the Prince George High School Career and Technical Education department. Students communicated their thoughts, worked together, and helped one another the same way as if they were employed at a business.

In recent years, art education has started an on-going discussion on the issue of visual culture. In the past few years this issue also becomes topical due to the necessity to improve art education in Taiwan. Currently, art education based on visual culture has become a very important concern in Taiwan. However, the concept of visual culture has its origin in foreign theories. In order for our art professional to remain independent, it is essential that Taiwanese art teachers begin to address the issue of how to properly incorporate the concept of visual culture into the design of our art curriculum, by applying an educational method entirely based on the unique experiences of Taiwan. Responding to this need, I have tried in my current research to investigate the curriculum design model that is based on visual culture theories, and to combine it with a concept of cultural education that is uniquely Taiwanese. My hope is to provide a curriculum model that is based on native Taiwanese visual culture, which might ease the educators' efforts of turning theory into practice.Therefore, in the present study I will: (1) investigate the importance of applying visual culture to art education; (2) explore the suitability of applying the theory of visual culture to the design of art curriculum in Taiwan; (3) derive from this research a set of curriculum design principles based on the ideas of visual culture art education, which can be applied and linked to the cultural characteristics of Taiwan.

Uma performance inicialmente realizada em parques e praças da cidade de São Paulo foi levada ao espaço de uma escola pública desse mesmo município. Realizei uma série de provocações artísticas e educativas buscando apreender modos diversos de fruição e mediação de alunos e professores de 1º e 2º ciclos do ensino fundamental, durante os meses de março a setembro de 2001. Nesta pesquisa-participante desempenhei os papéis de artista, pesquisadora e educadora. A pesquisa de campo dividiu-se em três etapas, que foram esboçadas a priori e se configurando com mais clareza no desenvolvimento do trabalho, conforme as interações e ressonâncias que iam ocorrendo. As diferentes linguagens utilizadas gestual, escrita, visual, videográfica e corporal mostraram-se essenciais à captação dos sentidos atribuídos à performance, bem como à exploração de interações nem sempre presentes no território escolar. Possibilitaram ainda a vivência de processos criativos e de produção de sentidos pessoais e coletivos, a partir de provocações estético-artísticas e/ou educativas. A escola mostrou-se aberta para o desenvolvimento das atividades, disponibilizando espaço e tempo para o trabalho com alunos e professores. A iniciativa de levar um trabalho artístico para dentro de uma instituição educativa foi vista positivamente pelos profissionais da escola, principalmente depois de concluída a pesquisa. No desenvolvimento das propostas, no entanto, surgiram dificuldades como: a limitação do horário dos professores para reflexões mais aprofundadas, a grande quantidade de alunos em cada grupo, os equipamentos precários da escola, a falta de funcionários que pudessem auxiliar os professores, a resistência dos profissionais da escola para trabalhar com a liberdade do imaginário das crianças. As entrevistas realizadas com artistas e professores revelaram semelhanças e diferenças de concepções, formação e experiências que interferem nas atuações desses profissionais. A pesquisa aponta para a necessidade de maiores investimentos, parcerias e integração entre as políticas públicas de educação e cultura a fim de que professores e crianças tenham chances de aprofundar seus conhecimentos em arte, nas suas diferentes linguagens, bem como artistas possam refletir e contribuir com maior clareza sobre a função social da arte no mundo atual. / A performance carried out in parks and public squares in São Paulo city was taken to a public school in São Paulo. My performances were both artistically and educationally provoking, aiming at a better understanding of how different teachers and students from 1st. to the 8th. grade enjoy and interact with art. These were performed from March to September 2001. In this sort of action research I played the roles of artist, researcher and teacher. The fieldwork consisted of three stages, which were previously planned though they took shape as the project developed according to the interactions and resonances that ensued. The different languages and media used video, visual, written word, gestores, and body language were crucial. They enabled the senses relating to performance to be absorbed and interactions not always present in school environments to be explored, apart from allowing creative processes to be experienced and both personal and collective feelings to be produced from aesthetic and/or educative provoking. The schools approach as regards the development of the activities was an open-minded one making time and space available to work with pupils and teachers. The idea of taking art to school was welcomed by the professionals, particularly after the research was complete. However, there were some difficulties as the proposals were developed, such as: limited amount of time available for teachers to participate in deeper reflections; large number of students in each group; out-of-date equipment at school; lack of employees who could assist the teachers; school professionals resistance to deal with the freedom of the childrens world. Interviews with artists and teachers revealed where their conception, formation, and experiences affecting their work alike and where they are different. The research shows greater investments, partnerships and integration between culture and public education policies are needed, so teachers and children have a chance to enrich their knowledge of art in all its different languages and so artists can reflect upon and contribute to a better understanding of the social role of art in todays world.

Este estudo analisa o trabalho de Artes Visuais desenvolvido durante três anos, de 2008 a 2010 com seis crianças que tiveram paralisia cerebral e outras lesões cerebrais no nascimento. As crianças tinham entre 7, 8 e 9 anos na época. O objetivo principal das aulas de arte foi o de desenvolver os sistemas proprioceptivo e exteroceptivo. O sistema proprioceptivo é definido como a percepção do corpo no espaço e da relação dos segmentos do corpo entre eles. O sistema exteroceptivo é definido como a ação dos sentidos da visão, audição, sensibilidade da pele, cheiro e sabor. Desenvolvi um projeto que trabalhou a relação do corpo no espaço mas ao mesmo tempo era voltado especificamente para o desenvolvimento da percepção, tentando envolver todos os sentidos.. Outra preocupação foi a inclusão cultural dessas crianças levando-os para exposições e espaços culturais. O desenvolvimento da consciência corporal e da alfabetização cultural estava associado não só com a visita a instituições culturais, mas também com a apresentação de obras de artistas e a presença de artistas convidados para trabalhar com eles na sala de aula.Começamos com o desenho do contorno dos corpos em papel, pintura e fotografia.Continuamos usando o corpo, desta vez como um pincel, depois de assistirmos ao vídeo de Yves Klein, no qual as bailarinas com corpos pintados produziam pinturas na tela com seus corpos. Continuamos, ao convidar um artista para pintar seus rostos. A relação do corpo,da cadeira de rodas e do espaço continuou sendo explorada através da visita ao Instituto Tomie Ohtake e outras visitas como ao Jardim de Esculturas do Parque da Luz e à Exposição de Arte para Crianças no SESC Pompeia, onde eles exploraram uma reinterpretação do Quadrado Mágico n.5 de Hélio Oiticica. Todas as crianças usam cadeiras de rodas, alguns não falam e têm dificuldade de ver. A professora também está em cadeira de rodas, não fala. E tem defict visual. Tinha que ir às instituições antes da visita dos estudantes para verificar a acessibilidade e a receptividade.. A preparação para as visitas também envolveu o entendimento anterior com as instituições e os seus serviços educacionais. Desde 2008 os professores da ONG Nosso Sonho, onde este estudo foi realizado, estão trabalhando para a alfabetização deste grupo de crianças. A neurobiologia considera que passada a idade adequada para a alfabetização torna-se mais difícil aprender a ler e escrever. É necessário uma reabilitação através do desenvolvimento integrado dos sentidos. Baseei-me em varias fontes entre elas também em Hélio Oiticica para projetar as atividades para desenvolver a percepção do corpo inteiro e em John Dewey para apoiar a ideia de experiências provocadas. / This study examines the work of visual arts developed during three years from 2008 to 2010 with six children who had cerebral palsy and other brain injuries at birth. Children were 7, 8 or 9 at the time. The main objective of art classes was to develop the proprioceptive and extero-ceptive systems. The proprioceptive system is defined as the perception of body in space and of body segments in relationship. Exteroceptive system is defined as the action of the senses of sight, hearing, skin sensitivity, smell and taste. I developed a project that worked the body\'s rela-tionship in space and specifically focused on the development of perception, trying to involve all the senses..Another concern was the cultural inclusion of these children taking them to exhibi-tions and cultural spaces. The development of body awareness and sense of cultural literacy was associated with not only visiting cultural institutions, but also the presentation of works by artists and the presence of guest artists to work with them in the classroom. We begin with contour drawing of the bodies on paper, painting, and photography. We continue using the body, this time, as a brush after seeing the video of Yves Klein where dancers with painted bodies produced paintings on the screen. We continue inviting an artist to paint their faces. The relationship of the body with other bodies, the weelchair, works of Art and space continued in the visit to the Institu-to Tomie Ohtake and other visits to the Garden of Sculptures in the Parque da Luz and the Child-ren\'s Art Exhibition at SESC Pompeia, where they explored a reinterpretation of the Magic Square 5 by Hélio Oiticica. All children use wheelchairs, some do not speak and have difficulty to see. The teacher is also in wheelchair, does not speak and has visual problems. So I had to go to the institutions before the students to check the accessibillity. The preparation for the visits also involved the previous understanding with the institutions and their educational services. Since 2008 the teachers of the NGO Nosso Sonho (Our Dream) where this study took place,are working towards the literacy of this group of children. The neurobiology considers that the lost of appropriate age for literacy, makes it more difficult to learn to read and write.It is necessary a rehabilitation through the integrated development of the senses. I relied also on Hélio Oiticica to project activities to develop the whole body perception and John Dewey to support the idea of provoked experiences.