Made available in DSpace on 2015-05-14T12:52:32Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1655931 bytes, checksum: bdf524139c346234c9d56f8c1d9e66af (MD5) Previous issue date: 2011-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The discussion about the music teaching on elementary school has been emphasized over last decades, having the significant absence of the music on the school curriculum in mind. Several aspects have been contributing to this absence, such as the formation of the art/music teachers who act straightly in this context, the problems related to the Educational Legislation in Brazil, wrong conceptions about the music teaching, among others. However, during 2008, through the Law number 11.769 that changes the current LDB, the music is set up as mandatory content of the Art curriculum and it must be effectively present in the basic Brazilian education up to August 2011. Having in mind this scenery, the interest of investigating how the music teaching is found at schools in Mossoró-RN came out, specifically in the municipal teaching system of the city. This way, the work objective aimed to analyze and discuss about the current situation of the music teaching, while it is a mandatory content of the Art curriculum at schools of the municipal teaching system in Mossoró-RMEM. Try to identify the teacher‟s formation that is related to Art, the quantity of teachers who work with music and subjects related to the formation and their musical experiences were the specific objectives. It also aimed to analyze the musical education conceptions and practices developed by these professionals. The work has a qualitative-quantitative methodological approach, providing a wide-ranging vision of the reality analyzed through a quantitative inquiry, as well as a deeper analysis through a qualitative appreciation. The investigation was based through a bibliographical study that contemplated the production of Musical Education, Art, Education and similar areas. The field work was made real through the application of questionnaires, semi-structured interviews, participant observation and video recorders. From the realization of this study, it was possible to verify that most of the Art teachers included in this context have no formation related to Art and Music. In spite of this fact, most of these professionals work with music teaching. In general form it was possible to be noticed that the formation of these teachers has been making the musical-educative development of his practices more difficult. However, it was verified through the acting of these teachers that the music has potentialities in order to be present in an effective and systematic way in this educational context. Finally, which it is possible to show up from the realization of this investigation is the urgent necessity of the Art teacher‟s formation at RMEM. / As discussões sobre o ensino da música na educação básica têm sido bastante enfatizadas nas últimas décadas, tendo em vista, principalmente, a significativa ausência da música nos currículos escolares. Diversos aspectos têm contribuído para essa ausência, tais como a formação dos professores de arte/música atuantes nesse contexto, os problemas relacionados à legislação educacional brasileira, concepções equivocadas sobre o ensino de música, entre outros. No entanto, no ano de 2008, através da Lei nº 11.769 que altera a atual LDB, a música foi instituída como conteúdo obrigatório do componente curricular Arte, devendo estar efetivamente presente na educação básica brasileira até agosto de 2011. Tendo em vista esse cenário, surgiu o interesse de investigar como se encontra o ensino da música nas escolas da cidade de Mossoró-RN, especificamente na rede municipal de ensino da cidade. Dessa forma, o trabalho teve como objetivo geral apresentar, analisar e discutir acerca da atual situação do ensino da música, enquanto conteúdo obrigatório do componente curricular Arte, em escolas da Rede Municipal de Ensino de Mossoró-RMEM. Como objetivos específicos, buscou identificar a formação dos professores que atuam na disciplina de Arte, a quantidade desses docentes que trabalham com música e aspectos relacionados à formação e experiência musical desses professores. Visou ainda, analisar as concepções e práticas de educação musical desenvolvidas por esses profissionais. O trabalho possui uma abordagem metodológica quantitativo-qualitativa, proporcionando uma visão ampla da realidade estudada, através de um levantamento quantitativo, assim como uma análise mais aprofundada, por meio de uma apreciação qualitativa. A investigação foi embasada através de um estudo bibliográfico que contemplou produções da Educação Musical, Arte, Educação e áreas afins. A pesquisa de campo foi concretizada através da aplicação de questionários, realização de entrevistas semi-estruturadas, observação participante e registros em vídeo. A partir da realização desse estudo, foi possível verificar que a grande maioria dos professores de Arte atuantes nesse contexto não possuem formação nas áreas de Arte e Música. Apesar desse fato, grande parte desses profissionais afirma trabalhar com o ensino de música. De forma geral, pôde-se constatar que a formação desses docentes tem dificultado efetivamente o desenvolvimento de suas práticas educativo-musicais. No entanto, verificou-se através da atuação desses professores, que a música tem potencialidades para estar presente de forma efetiva e sistemática nesse contexto educacional. Portanto, o que se pode evidenciar a partir da realização dessa investigação é a urgente necessidade de formação dos professores de Arte da RMEM.

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.

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.

This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond.

Abstract This thesis examines how art teachers work with teaching materials in their teaching and if they experience a need for a textbook for each grade 7, 8 och 9, as there is in mathematics and English. If a textbook could raise the status of the school subject art and how a textbook could be structured, contain. To find out this, qualitative semistructured interviews were conducted with 5 art teachers around Sweden which is transcribed and analyzed qualitative using content analysis and hermeneutic scientific orientation. For previous research and literature review academic journals and articles have been studied. The study has concluded that four out of five art teachers do not use any teaching material in their teaching but draw inspiration from books and on various Internet sites. Four out of five art teachers see a need for a textbook in the school subject art. Out of those of the art teacher who do not see a need for a textbook in the subject of art believe that it would counteract the school subject art and it would stifle creativity and enthusiasm. All art teachers in the study believe that the status of the subject could be raised with an textbook in the school subject art. How the textbook should be structured and what it should contain are the following: the basics, basic knowledge from simple to advanced level, facts, color theory, shapes, brushwork, classic tasks such as paraphrase of famous paintings, grid enlargement and paint monochrome images in newer versions, art history in chronological order, instructional videos, image concepts, creative open tasks and task about ethnicity, gender roles and power relations.

No description available.

CLASSROOM STRATEGIES AND TECHNIQUES FROM THE EXPERIENCES OF VETERAN ART EDUCATORS by JOHN PAUL WOOD JR. Under the Direction of Dr. Melody Milbrandt ABSTRACT This educational case study on classroom management was conducted through questionnaire format by way of email and mail correspondence with art teachers working in a south metro Atlanta area school system in February of 2008. It was conducted to gain data on classroom management techniques and strategies from veteran art educators. The data I analyzed provided commonalities in methods, strengths and weaknesses, and techniques used that could potentially assist novice art teachers in areas of managing student behavior, materials and supplies in an art classroom. The findings of this study reveal although art educators of different grade levels teach different art lessons, they share similar approaches to behavior management and have overcome similar problems as novice teachers. INDEX WORDS: Art Teacher, Classroom Management, Behavior Management, Advice For Novice Teachers

The purpose of this research study was to explore how the significance of place serves as a part of Indigenous—specifically Diné (Navajo)—education cultural responsiveness in the art classroom. Further, objectives of the study included learning how North American art teacher educators can more effectively weave Indigenous understandings of place into pre-service art teacher education to benefit Indigenous learners' needs. I employed a qualitative approach to this study using multiple methodologies: ethnography, phenomenology, an Indigenous research methodology, and arts-based research. Through personal interviews with six participants—two Diné artists, two art teacher educators, and two unfamiliar art teachers new to reservation-serving schools—I sought to locate culturally situated perspectives and values. The goal of the interviews was to gather ideas about the significance of place, about relationships between place and art, and about art teacher preparation for teaching in Diné-serving schools. The design of the study also included new unfamiliar non-Diné art teacher preconceptions and in-situ learning experiences of teaching on the reservation. Beyond the participant interviews, I engaged an arts-based exploration of my experiences with Diné people as an outsider/insider member of the Diné community. The artwork I created also helped weave together data from participant interviews. Findings from the Diné artist participants suggested that places hold significance in Diné culture, art making, and the display or use of art. According to Diné epistemological perspective, place is more than just a physical location, and different from some mainstream ideas about place. For Diné interviewees, place is a container of aspects of life such as energies, nature, spirits, people, and a multitude of other significances, some tangible and some intangible. Findings from interviews with art teacher educators of other Indigenous groups also indicated that place is significant to many Native American peoples, and the idea of that significance is difficult to transmit to Euro-American pre-service teachers. Interviews also indicate that focusing teaching education on social justice theories and employing Native American art and artists can assist in the preparation of pre-service art teachers to teach in reservation or pueblo communities. However, there are deeply rooted cultural concepts that come into play once the new teacher reaches her/his teaching assignment community. Lastly, findings revealed that new unfamiliar art teachers experience a number of obstacles upon entering Diné communities when their prior understandings about the place is limited. Challenges include understanding acceptable cultural observances, student proclivities, and art making practices. Understanding significance of place, stereotyping concerns, and positionality challenges are among the themes that arose as a result of cross-participant analyses. The implications of this research study advocate for: a) building further knowledge about educating pre-service teachers about cultural relevance, stereotyping, and positionality in Native American-serving art classrooms; b) the need for continued cultural learning and mentoring in-situ; and c) the need for unfamiliar art teachers to develop culturally relevant teaching practices with the help of people in the community.

CLASSROOM STRATEGIES AND TECHNIQUES FROM THE EXPERIENCES OF VETERAN ART EDUCATORS by JOHN PAUL WOOD JR. Under the Direction of Dr. Melody Milbrandt ABSTRACT This educational case study on classroom management was conducted through questionnaire format by way of email and mail correspondence with art teachers working in a south metro Atlanta area school system in February of 2008. It was conducted to gain data on classroom management techniques and strategies from veteran art educators. The data I analyzed provided commonalities in methods, strengths and weaknesses, and techniques used that could potentially assist novice art teachers in areas of managing student behavior, materials and supplies in an art classroom. The findings of this study reveal although art educators of different grade levels teach different art lessons, they share similar approaches to behavior management and have overcome similar problems as novice teachers. INDEX WORDS: Art Teacher, Classroom Management, Behavior Management, Advice For Novice Teachers

The purpose of this study has been to investigate visual art teachers’ experiences of using pre-exercises in art class, and to what extent they promote the students’ creativity and interest for creating. In order to limit the study, focus was directed at the introduction of new art assignments, and how the teacher presents the task. The study aims to contribute with knowledge and guidance for art teachers who seek to encourage students to work creatively, and to invoke greater interest for creating. The study has its foundation in the socio-cultural perspective on teaching and development, including its communicative processes. The method was qualitative in character. Eleven art teachers were interviewed, in order to get empirical knowledge of their experience of introduction and pre-exercise in art projects.The results showed that the teachers’ experience of working with pre-exercises had several aims and goals. One of those goals were that the exercise would provide students with tools for getting started with the creative process, and promote their creativity. A challenge mentioned was lack of time, and the teachers experienced that pre-exercises were frequently skipped because of it.