This thesis defines and presents discipline-based art education curricula as defined by Greer 1983 for Nigerian Art Education Students. Current requirements in art education programs both in Nigeria and the United States are compared in order to more fully understand and develop this course of study. Attention is paid to the national goals and the inherent culture of Nigeria. An analysis of the curriculum of five colleges with discipline-based and education programs has been studied in order to determine a suitable outline of curricula for college teachers in Nigeria. It is concluded that Nigerian teachers, through this proposed program, will be exposed to the contemporary discipline-based approach to art education, and that Nigerian children taught by means of this approach will be able to gain a better understanding and appreciation of their artistically rich culture.

For years now, students have been learning from two different types of teachers: Teachers who received certification from a traditional training program at a university and teachers who became certified through alternative certification routes. Does the educational preparation of an art teacher matter? Is alternative certification as effectual as traditional teacher preparation programs? Darling- Hammond (2006) says, "Evidence indicates that teachers who have had more preparation for teaching are more confident and successful with students than those who have had little or none." This thesis will examine and analyze alternative teacher certification in art education for the state of Florida, in a selected county in central Florida, and the traditional teacher certification program via a university path. I am choosing to base this study on my own program of study. I am on the path receive a Bachelor's degree through a traditional art education preparation program. This topic will be discussed by conducting a review of literature. Articles from scholars will be cited in order to provide evidence to support the conclusion that art teachers who are traditionally certified are better prepared for the art classroom than art teachers who attained certification via an alternative route. In order to carry out this investigation, an autoethnography will be included, which will include personal experiences, such as going through a traditional art teacher certification program, which is a four year Bachelor's degree in art education and observing art teachers who have completed different types of certification, leading me to the conclusion that traditionally certified art teachers are more prepared.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

Research shows the choices a teacher makes in the classroom are grounded in more than pedagogy, technical skill, and formal preparation through acquisition of teaching methods, materials and techniques. A teacher’s professional decisions are shaped by personal and professional histories, life experiences, current endeavors, and expectations for the future (Clandinin & Connelly, 1995). In this qualitative narrative study, I focused on the ways art making might be utilized as a professional development tool for reflection on the intersection of teacher identity and practice. During the summer of 2012, in collaboration with the Blanton Museum of Art in Austin, Texas, six Austin Independent School District art teachers and I shared personal and professional reflections inspired by our art making. I used narrative analysis and coding to interpret and reveal the ways teachers used art to reflect on their identity and professional practice. In addition to these findings, this study revealed that teachers have a desire and need to reflect on the intersection of identity and practice. The lack of current research on identity as a shaping force of professional practice was the primary motivator in pursuing this research. Identity and the internal lives of teachers play a powerful role in the way they educate young people. Research such as this study emphasizes identity as a valuable and integral part of teaching work. Our perspective of the teaching profession needs to expand beyond an occupational sum of its parts: curriculum, management and learning assessment. Recognizing and addressing the ways teachers’ dispositions shape their teaching practice (Hansen, 2005) through future research can boldly expand definitions of professional development and the teaching profession to include teachers’ internal lives. / text

This thesis deals with a significant art teacher and painter Alois Toufar. It monitors progress of his professional activity with emphasis on the term "Brtnicky krouzek" as well as territory of Toufar´s not only professional activity. As opposed to all the other published and rather patchy works about Alois Toufar, this thesis essentially uses oral information sources, which in result give much more stereoscopic images about the life of Alois Toufar as a significant person in art education with not only regional importance. Expected benefit of this thesis is the improvement of current ability of children's speech and particularly mapping life and career of significant personality of art education, which is not too exposed today.

Esta Tese traz reflexões sobre processos de produção audiovisual, defendendo a ideia de que essa produção organizada por professores em formação, em relação dialógica com o contexto no qual estão inseridos, interligando as imagens a diferentes aspectos, poderia levar os sujeitos envolvidos nos processos de ensino e aprendizagem ao reconhecimento do valor coletivo dessas práticas. O enfoque principal são os processos de produção audiovisual de professores em formação em Arte, delimitado neste estudo pelo contexto das tramas ecológicas, como um contexto propício a levar à instauração de diálogos, ampliação de campos de referência e produção de sentidos. A interação com as mídias digitais, disponibilizadas no campo educacional, surgem como ferramentas na construção do conhecimento que possibilitam reflexões sobre os processos éticos, estéticos e novos possíveis. O pensamento complexo, possibilitado por um olhar que dialoga com o contexto em que se está inserido e pela interligação de saberes como proposto por Morin, permitiu identificar processos de produção audiovisual, possibilitados por modos de organização e estratégias, através de interações com o meio e com atores sociais, caracterizados por retroações e recursividade que levam à interligação de diferentes conhecimentos. Para análise desses processos foi considerado o dialogismo de Bakthin que gerou os conceitos de polifonia, exotopia e cronotopia, que evidenciam aspectos das várias vozes, tempo e espaço da relação dialógica e atribuição de sentidos à obra criada/observada. A metodologia dessa análise de processos de produção audiovisual dos sujeitos é qualitativa e desenvolveu-se em uma abordagem de pesquisaparticipante, sugerida por Brandão e Borges (2007), que levam em consideração o conhecer, o pensar e o intervir, a exploração da comunidade, a identificação das necessidades básicas e a elaboração de estratégia educativa. Foi considerado ainda a Pedagogia da Autonomia de Freire (2002), no que se refere à escuta das narrativas dos participantes sobre suas experiências cotidianas, entendidas neste estudo, como fator preponderante à pesquisa. Dessa forma, os processos analisados dizem respeito ao resultado de diferentes atividades audiovisuais vivenciadas por professores em formação em Arte e artesãos, produtores de tramas ecológicas ou objetos em fibras vegetais, com diferentes faixas etárias, e restringem-se especificamente aos registros fotográficos e videográficos sobre o processo artesanal desses objetos, interrelacionados ou não aos aspectos culturais e educacionais que envolvem esse fazer. Esses resultados apontam para a importância do desenvolvimento de um olhar dialógico, possibilitado pela interação com as mídias de seu tempo na construção do conhecimento. / This dissertation reflects on audiovisual production processes, defending the idea that this production organized by teachersing training, on a dialogic relation to with context in which they are inserted, linking images to different aspects, could lead the individuals involved in teaching and learning processes to recognize the collective value of these practices. The main focus are the audiovisual production processes of teachers training in art, defined in this study by the context of ecological braided straw, as an enabling environment for the establishment of dialogue, expansion of reference fields and production of meanings as a context conducive to lead to the establishment of dialogue, expansion of reference fields and production of meanings. The interaction with digital media, available in the educational field, appear as tools in the construction of knowledge ethical, aesthetic and possible new processes. Complex thinking, made possible by a look that speaks to the context in which it is inserted and the interconnection of knowledge, as proposed by Morin, identified audiovisual production processes, possible by organizational methods and strategies, through interactions with the environment and with social actors characterized by retroactions and recursion that lead to the interconnection of different knowledge. The analysis of these processes were based on Bakhtin's dialogism and the concepts of polyphony, exotopy and chronotope with the evidence of various voices, time and space of dialogical relationship and attribution of meaning on the work done/observed. The methodology of this analysis of audiovisual production processes of the subject is qualitative and has developed into a research-participant approach, suggested by Brandão and Borges (2007), which take into account the knowledge, thought and action, the exploitation of community, identification of basic needs and the development of educational strategy. It was still considered the Pedagogy of Autonomy Freire (2002), with regard to listening to the narratives of the participants about their everyday experiences, understood in this study as a major factor research. Thus, the processes analyzed concern the result of different audiovisual activities experienced by teachers in training in Art and artisans, producers of ecological braided straw or objects in vegetable fibers, different age groups, and they are limited specifically to photographic records and videographic on the handmade process of these objects, inter-related or not to the cultural and educational aspects involved in this action. These results point to the importance of developing a dialogical look, made possible by the interaction with the media of their time in the construction of knowledge.

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

Based on my experience and the available literature I believe that many art teachers perceive that they are unprepared to adequately teach special needs students in their art classrooms. The review of literature supports the visual arts for individuals with disabilities. The inclusion movement in schools increases the likelihood that a teacher will have students with disabilities in their art classroom. It is suggested that art educators would benefit from at least one course in their pre-service training that specifically addresses art education for students with special needs. This content analysis of pre-service art education programs reveals that 5 of 18 programs studied, (28%), require such a course, with no other option, to fulfill the special education requirement. Using the published literature, my own experience, and current practices a proposed curriculum was created for an undergraduate course in art education for special needs in the inclusive art classroom.

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

Based on my experience and the available literature I believe that many art teachers perceive that they are unprepared to adequately teach special needs students in their art classrooms. The review of literature supports the visual arts for individuals with disabilities. The inclusion movement in schools increases the likelihood that a teacher will have students with disabilities in their art classroom. It is suggested that art educators would benefit from at least one course in their pre-service training that specifically addresses art education for students with special needs. This content analysis of pre-service art education programs reveals that 5 of 18 programs studied, (28%), require such a course, with no other option, to fulfill the special education requirement. Using the published literature, my own experience, and current practices a proposed curriculum was created for an undergraduate course in art education for special needs in the inclusive art classroom.