<p> This dissertation explores the artistic expressions of Native womanhood by Native women artists. The intention is to offer further examples of creative acts of resistance that strengthen Native identities, reinforce female empowerment, and reclaim voice, and art. This qualitative study utilized the narratives and the artwork of six Native women artists from diverse artistic practices and tribe/nation affiliations. Visual arts examples included in this study are digital images, muralism, Ledger art, beadworks, Navajo rugs, and Navajo jewelry. Through Kim Anderson&rsquo;s theoretical Native womanhood identity formation model adopted as framework for this study, the results revealed three emergent themes: cultural connections, motherhood, and nurturing the future. Native women artists lived experiences shaped their visual expressions, influencing their materials, approach, subject matter, intentions, motivation and state of mind. This dissertation discloses Native womanhood framework is supportive of visual expressions created by Native women.</p><p>

The blurred lines between the domains of art, education and art education create tensions that impact how art educators negotiate their identities (Baxter, Ortega López, Serig & Sullivan, 2008) within themselves and through a myriad of complex relationships with society and the natural world. I reflect upon the profound transformations of my theoretical and methodological framework of pedagogy emerging from my academic, artistic and professional experiences, particularly my exposure to twentieth century philosophy, post-modernism, critical pedagogy, democratic education, feminist theory and queer studies, each through the lens of social justice. I draw from the ideas of thinkers—Goodman, Lorde, Deleuze, Freire and Zolla, amongst many—who, in one way or another, embraced an integrative dialectic of difference rather than fearing or rejecting conflict, opposites and contradictions. In the twenty-first century, this exploration of the interspace has resulted in arts-based theoretical and methodological approaches to inquiry (Rolling, 2013) such as studio art as research practice (Sullivan, 2004), a/r/tography (Springgay, Irwin & Kind, 2005), and productive ambiguity (Shipe, 2015). This thesis is an arts-based autoethnography, intended to embody the dual nature of the identities and practices of artists/teachers through the creation of an artistic product. Carolyn Ellis and Arthur P. Bochner pointed to the three axes of autoethnography: the self (auto), culture (ethno) and the research process (graphy); modes of autoethnography fall along different places within these continua (Ellis & Bochner, 2000). While I place the strongest focus on my experience and culture, I also stress the relevance and rigor of the research process. Drawing inspiration from the amazing work of Nick Sousanis and Rachel Branham, I include extensive notes and references at the end of the thesis. The prologue is formatted as an illustrated novel—a blueprint for a full graphic novel version of this thesis. The rest of the manuscript is a literary autoethnography, by which I assume the identity of an autobiographical writer foremost.

This research explored the effects of implementing a curriculum based on important principles of Waldorf education with a Latino student population enrolled in a Transitional Bilingual Education program for gifted Hispanic students attending a public school in central Massachusetts. Qualitative research methods were employed in order to record how the students interpreted specific experiences and to gain insight and understanding concerning the impact of a curriculum based on Waldorf education principles used with bilingual/bicultural students. The study focused on two groups of bilingual gifted classrooms--a sixth grade in a Magnet school and a fourth grade in a community school. All of the students were Puerto Rican with the exception of one girl from El Salvador. Data used for this research study were collected for a period of four months through observation, videotaping, audiotaping, student interviews, and field notes. The finished products of the students were also considered data. The research revealed that the students became connected to the curriculum in three stages--social, physical, and cognitive. The cognitive connection to the curriculum occurred most successfully when artistic activities preceded the introduction of intellectual concepts. This finding is compatible with the research of Martin L. Albert, Lorraine K. Obler, and Kenji Hakuta concerning language formation in bilingual individuals. Increased use of verbal language in the native and second language of the students, a positive sense of self, and increased motivation to learn were noted as results from the students' involvement with the curriculum. Recommendations were made by the researcher to reform traditional public school teaching practices so that a culturally and educationally relevant curriculum might be developed for language and culture minority Latino students.

The purpose of this study was to implement and assess a curriculum on African and African-American art and artists appropriate for elementary school children in a multicultural urban setting in the northeastern part of the United States. The program involved 145 students in a curriculum that includes biographical sketches, slide presentations, studio visits to prominent artists, and hands-on activities. The students were in grades three, four and five. The students learned the three eras of African-American art: the Apprentice, the Journeyman, and the Harlem Renaissance. They also studied the art of Egypt in the time of King Tutankhamen, as well as that of Nubia. More recent African art, including the artifacts of the Dogon people and the thumb painting of the Ndebele women, exposed the children to techniques and designs they could copy. The effects of the program were qualitatively evaluated through a pre-test and post-test administered to these classes. Two sets of open-ended questions were used to assess changes in the children's understanding. The students' perceptions of themselves as artists and their awareness and appreciation of art in their communities were also important components of this program. The program had an impact on the children and can become a segment in the elementary art curriculum guide. At present, there is none included in the guide representing the art of Africans and African-Americans.

No description available.

Visual aesthetics -- Whole-brain thinking -- Pictorial imaging -- Art and science, mathematics, social studies, and language arts.

Art definitions and movements are changing just as the social paradigms they spring from. This exploration looked at paradigms in art of the past that have become the foundation for movements today. Currently the transformative powers art has to offer have been recognized. Colleges are beginning to train a major and a career. The literature review explored what role transformative art has played in artists' lives and looked at its uses in education. Conceptual art goes beyond the aesthetics of art and touches the mind and heart. I began to explore this kind of art in the nearby galleries. I found a theme I could be passionate about and began to develop it visually. For my project, I developed transformative art. Often students can master a media and create an image with it. But, unless they are told what to create, their craftsmanship skills lie mute. They need guidance to realize their visual voices. As I researched the subject matter of my show, I challenged my students in my high school art classes to look past technique and create some conceptual art of their own.

This dissertation examines current multicultural art teacher practices and their student perspectives, to make implications for art teacher preparation in the postmodern era. The study addresses four interrelated challenges in art education: the postmodern framework on knowledge and learning, disagreements in higher education about future directions, the construction of the theory-practice gap, and the absence of teacher and student voices, especially from urban and marginalized communities. A review of the literature of modern and postmodern art historical contexts points to a web of tensions in the multiple worlds of art and art education. Those tensions guide a theoretical framework rooted in the dynamic intersection of postmodernism and multicultural education which is explored in a review of the literature regarding visual culture art education (Duncum, 2001, 2002). These frameworks led the Arts-Based Educational Research (Barone & Eisner, in press) to be presented in a series of "collages" (Bode, 2005) with an a/r/tographer's perspective (Irwin, 2004) into how teachers' roles and student participation might reinscribe (Derrida, 1994; Lather, 2003) the direction of art education programs. From four art classrooms, in settings where the participants indexed race, ethnicity, language and poverty in discourses of multiple identities, the voices of art teachers and their students highlight the role of visual culture in resistance to hegemony and in pursuit of academic achievement. Art teacher preparation may include such studies as a vehicle for in change art education communities that reconsider the role of art and art teachers.

The purpose of this study is to determine objectives for an offering in graphic expression designed to assist non-art majors desiring extracurricular art experiences in the College of the Pacific. It is hoped that through the data gathered by means of opinionnaires and questionnaires used as the basis for this study the project may serve to accomplish the following objectives.: (1) To determine the goals of a voluntary art experience in relation to the general objectives of the College of the Pacific as stated in its published literature.; (2) To determine the relation of such a voluntary offering to the program for the art major.; (3) To survey other college, university, and civic institutions which offer such a program as proposed or programs of a similar nature.; (4) To establish objectives for such a program for recommendation to the administration of the College of the Pacific by the Department of Art.

Master thesis Object in the landscape is concerned with the landscape, people's environment, architecture and art. It deals with bases of contemporary urbanized landscape, relationship between man and nature, effect of architecture and art in the wider contexts. It also explores transformation of the entities of the landscape at the time of digital technology. In theoretical, practical and educational level, I deal with relationships among architecture, art, landscape and man in a wider context. In the theoretical part, I examined the spatial relationships in landscape and their transformations. I reflected local environment in practical work and I focused on transferring the issue to stimulating teaching jobs in educational work. In my opinion, the most valuable part is art work, where I managed to meet my expectations and goals.