This study was undertaken to answer the question, “In a cross-section of the featured creative entrepreneurs from Handmade Nation: The Rise of DIY, Art, Craft, and Design, what kind, if any, of art education did these full time, handmade-craft business owners receive in EC-12 schooling and how has it affected their adult lives as successful craft business owners? In what ways, if at all, does it appear their formal art education led to their successful creative ventures in their adult years?” In order to answer this question, a survey was conducted of a cross-section of the participants featured in the book (Levine & Heimerl, 2008) and film (Levine, 2009) Handmade Nation: The Rise of DIY, Art, Craft, and Design about their art educational backgrounds, including what amount of art instruction they received in EC-12 schooling, as well as in informal or community settings. Based on the survey results, four representative participants were interviewed. Their responses were then constructed into narratives so as to portray holistic portraits of their individual paths through art instruction to entrepreneurship. In doing this it was revealed that while EC-12 can be attributed with furthering the participants’ interest in art, and giving them a grounding in many technical skills still used in their daily lives, in most cases, formal art education alone has not seemed to provide enough training on its own to promote the participants’ future successes as creative business owners. It is only through the blending of the sum total of their formal, familial, and informal art education that successful outcomes have been found. / text

The purpose of the study was to investigate teacher attitudes toward following the Taiwanese arts and humanities curriculum and the relationship of teacher attitudes to four selected curriculum integration factors. These include (1) The quantity of content areas taught in music class, (2) Teachers' satisfaction of their students' learning outcomes, (3) Teachers' confidence in planning lessons, and (4) The number of years spent in curriculum integration. Questionnaires were distributed to 85 stratified random selected junior high schools throughout Taiwan. The school responses rate was 74%. Content validity was checked. The internal consistency reliability ranged from 0.74 to 0.92. Recorder playing, group singing, and music appreciation were found to be the most frequently taught musical skills, the most satisfied students' learning outcomes, the most confident lesson planning areas, and the most important to be included in the music instruction. Writing-by-ear and playing-by-ear were found to be the least frequently taught musical skills, the least satisfied students' learning outcome, the least confident lesson planning area, and the least importance. The two most frequently encountered barriers were insufficient administrative leadership and shallow student learning. The results of the Pearson product-moment correlation coefficient showed a low positive significant relationship between teachers' overall attitudes and the quantity of musical content areas taught (n = 83, r = 0.29, p = 0.007*, r2 = 0.09). Based on prior research, if attitudes that are formed from personal histories are difficult to change, and in order to change attitudes, multiple strategies must be used. The majority of teachers did not strongly support or reject this new curriculum, and strong support would be needed for the curriculum to be successfully implemented. One of the most important things that the Taiwan MOE could do is to provide music teachers with on-going in-service teacher development programs and monitoring mentor systems, in addition to the exploration and development of additional strategies that might possibly impact teachers' neutral beliefs about this new curriculum.

abstract: ABSTRACT Art educators use a variety of teaching and demonstration methods to convey information to students. With the emergence of digital technology, the standard methods of demonstration are changing. Art demonstrations are now being recorded and shared via the internet through video sharing websites such as YouTube. Little research has been conducted on the effectiveness of video demonstration versus the standard teacher-centered demonstration. This study focused on two different demonstration methods for the same clay sculpture project, with two separate groups of students. The control group received regular teacher-centered demonstration for instruction. The experimental group received a series of YouTube videos for demonstration. Quantitative data include scores of clay sculptures using a four-point scale in three separate categories based on construction abilities. Qualitative data include responses to pre and post-questionnaires along with classroom observations. The data is analyzed to look at the difference, if any, between YouTube instruction and regular teacher-centered instruction on middle school students' ceramic construction abilities. Findings suggest that while the YouTube video method of demonstration appeared to have a slightly greater effect on student construction abilities. Although, both instruction methods proved to be beneficial. / Dissertation/Thesis / M.A. Art 2013

Denna studie undersöker bedömning och strategier i bildundervisningen. Forskningsfrågorna syftar till att synliggöra vad verksamma bildlärare bedömer i elevernas arbeten, vilka bedömningsstrategier de använder sig av samt vilka utmaningar som kan urskiljas vid bedömningsarbete och betygssättning. Studiens empiri består av kvalitativa semistrukturerade intervjuer med sju bildlärare där materialet har bearbetats och analyserats utifrån en innehållsanalys och med studiens två teorier, läroplansteorin samt ramfaktorteorin, som utgångspunkt. Resultatet visar att det som lärarna bedömer är arbetsprocessen och slutresultatet, planering och självständighet samt närvaro under lektionstid. De bedömningsstrategier lärarna använder i formativ- och summativ bedömning är: observationer och frågor, sortering i betygsnivåer, färgkodning, matriser, digitala portföljer och kollegial sambedömning. Slutligen visar studien de utmaningar som förekommer vid bedömningsarbete och betygsättning, som främst handlar om olika ramfaktorer. Dessa är tillgången till bildsal och material, digitala verktyg, elevantal, tidsaspekt, kursplanens formulering samt avvägning vid bedömning.

In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?

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