The historical background and previous research on my subject refers to a certain uncertainty in a professional teacher's professional identity that still remains. The difficulty is excreted in ignorance in leading fields and uninteresting colleagues in between. My aim of the study is to gain an insight into the activities at the leisure home and how teachers view their professional role as well as how they take on the dual assignments that the identification in the school subject entails. I have chosen a qualitative method for my interviews and my selection was six teachers in leisure-time centres working in schools around Stockholm. I have used Roger Saljö's interpretation of socio-cultural theory, whose basic idea is that learning takes place in interaction between a group of people and an individual. My research shows that there are external factors that govern and influence the leisure teacher's choices and conditions and that the traditional school is prioritized. Despite the teachers' uncertainty about what their professional identity should be called in the leisure home, the image education has nevertheless strengthened their self-confidence and how they today teach the students. / Den historiska bakgrunden och tidigare forskningen kring mitt ämne hänvisar till en viss osäkerhet i en fritidslärarens yrkesidentitet som ännu kvarstår. Svårigheten utsöndras i okunskap i ledande fält samt ointresse kollegor emellan. Mitt syfte med studien är att få en inblick i verksamheten på fritidshemmen och hur lärare ser på sin yrkesroll samt hur de tar sig an de dubbla uppdragen som legitimationen i skolämnet bild medför. Jag har valt en kvalitativ metod för mina intervjuer och mitt urval var sex lärare i fritidshem som arbetar på skolor runt Stockholm. Jag har använt mig av Roger Säljös tolkning av den sociokulturella teorin, vars grundtanke är att lärande sker i samspel mellan en grupp människor och individ. Min underökning visar att det är yttre faktorer som styr och påverkar fritidslärarens val och förutsättningar samt att den traditionella skolan prioriteras. Trots lärarnas osäkerhet på vad deras yrkesidentitet ska kallas på fritidshemmet, har ändå bildutbildningen stärkt deras självförtroende och hur de idag undervisar eleverna.

Art has been used for centuries as a healing tool for adults and children; however, the use of art therapy in schools is a recent development. Art therapy, encompassing art, psychology, and therapy, is by nature interdisciplinary. Art experiences provided to students at risk of failing or dropping out of school may offer non-verbal communication that can be used effectively to satisfy a variety of developmental, social, or emotional needs. The purpose of this qualitative study was to develop a curriculum-based art experiences model, combining the skills of art teachers and school counselors. Data were collected through a focus group consisting of seven art teachers and five school counselors representing the eight elementary schools in Johnson City, Tennessee. These elementary school specialists agreed that at-risk students could benefit from the use of art experiences that were suggested in the study. Four major issues were discussed regarding the mechanics of the proposed alliances of art teachers and school counselors: (a) identification of at-risk students, (b) the opportunity for collaborative time, (c) pulling at-risk students out of self-contained classrooms for art experiences, and (d) the additional space needed for consistency of the art experiences. Some suggested strategies for specific issues in the focus group were as follows: (a) to establish a clear method for identifying at-risk students, (b) to manage time schedules to allow opportunities for collaboration, (c) to organize in-service opportunities for the self-contained classroom teachers, and (d) to seek out in each participating school an appropriate area for use by the art teacher and school counselor. The results of this study suggested that collaboration of two elementary school specialists, an art teacher, and a school counselor in each school, could provide therapeutic art experiences for children identified as being at risk. Consequently, I have concluded that my proposed curriculum-based model could be adopted by almost any elementary school that has an art teacher and a school counselor without requiring any additional personnel.

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2015-05-20T16:57:45Z No. of bitstreams: 1 ANA MARCIA AKAUI MOREIRA.pdf: 2256401 bytes, checksum: 03cee5044b54944433646c02e6fc9a2c (MD5) / Made available in DSpace on 2015-05-20T16:57:45Z (GMT). No. of bitstreams: 1 ANA MARCIA AKAUI MOREIRA.pdf: 2256401 bytes, checksum: 03cee5044b54944433646c02e6fc9a2c (MD5) Previous issue date: 2015-04-23 / There is almost a consensus among Brazilian researchers, that the teaching of Arts in Brazil was transformed by the Triangular Approach, introduced by Ana Mae Barbosa, which led to a new paradigm of work with arts in Education. Thus, supporting the central idea of the development and learning of Art in Dewey, Read, Eisner, Fischer and Arheim, this study aims to investigate how Art teachers, who adopt this approach, understand and build their practices in classroom. A qualitative approach, supported by Bodgan and Bicken, used for data collection, questionnaires and interviews with five Art teachers, experts, and who develop their work in the Junior High School at public schools in Baixada Santista. The organization of work and data analysis was guided in Hermeneutics-dialectic described by Minayo, with the operational support of Content Analysis described by Bardin and Franco. This research seems to show that teachers who use the Triangular Approach, although attempting to develop this proposal, conscious or not, are in a working condition weakened due to the absence of a specific, adequate and continuous education, because they feel at the margin of learning in school education. This work contributed to show how important is to work with Art in the schools and how the school can learn from this discipline. / Há quase um consenso, entre os pesquisadores brasileiros, de que o ensino de Arte, no Brasil, foi transformado pela Abordagem Triangular, introduzida por Ana Mae Barbosa, que conduziu a um novo paradigma de trabalho com a arte na Educação. Assim, fundamentando a ideia central do desenvolvimento e aprendizagem da arte em Dewey, Read, Eisner, Fischer e Arheim, este trabalho tem por objetivo investigar como os professores de Arte, que adotam essa abordagem, entendem e constroem suas práticas em sala de aula. Sob uma abordagem qualitativa, apoiada por Bodgan e Bicken, utilizou, para coleta de dados, questionários e entrevistas com cinco professores de Arte, especialistas, que desenvolvem seus trabalhos no Ensino Fundamental II em escolas públicas da Baixada Santista. O trabalho de organização e análise dos dados coletados orientou-se na Hermenêutica-dialética descrita por Minayo, com o apoio operacional da Análise de Conteúdo descrita por Bardin e Franco. Esta pesquisa parece revelar que os professores que utilizam a Abordagem Triangular, apesar de tentarem desenvolver essa proposta, de forma conscientes ou não, encontram-se em uma condição de trabalho fragilizada em decorrência da falta de uma formação específica, adequada e contínua e, por sentirem-se às margens do aprendizado na educação escolar. Este trabalho contribuiu para mostrar o quanto é importante trabalhar com a Arte dentro da escola, e o quanto a escola pode aprender com essa disciplina.

Syftet med avhandlingen är att undersöka visualiserade föreställningar om bildläraryrket vid Lärarutbildningen genom att analysera hur bildlärarstudenter i digital bild gestaltar sig som lärare, samt betydelser av kön i dessa bilder. Bilderna har analyserats diskursivt för att söka svar på frågorna: Vad är det i lärarrollen som kommer till uttryck i dessa bilder? Vilka betydelser av kön visualiseras? Vilka visuella grepp har bildmakarna använt? Hur kan man förstå de val studenterna gjort? Det empiriska materialet består av femtionio bilder, gjorda av fyrtiofem kvinnor och fjorton män. Bilderna producerades av bildlärarstudenter vid Institutionen för estetiska ämnen, Lärarutbildningen, Umeå universitet under en kurs i digital bildbehandling under åren 2000–2002. Samtliga har gett sitt godkännande att delta i studien. Avhandlingen består av två metodologiska linjer som båda bygger på bilder, dels bildskapande som pedagogisk metod, dels bildanalys som vetenskaplig metod. Bildskapande som pedagogisk metod baserar sig till stor del på den engelska fotografen Jo Spence arbeten. Bilderna antas då utgöra en arena för reflektioner kring och problematisering av yrkesrollen samt att de gestaltar föreställningar, förgivettaganden och förväntade erfarenheter inför läraryrket. I bildanalyserna har de individuella gestaltningarna betraktats som en repertoar av möjliga positioner vid lärarutbildningen som studenterna kan representera sig i. Bilderna har därför analyserats som utsagor inom den kontexten. I tolkningar har sedan en kombination av genusteorier, semiotiska och sociokulturella teorier använts. Collaget och montaget har övervägande utgjort bildernas tekniska grund och i de skapade bildrummen förekommer flertalet gestaltande grepp som intertextuella referenser till genrer inom konstvärlden och populärkulturen, allt från kanoniserade konstverk till filmer, fantasy och reklam, multipla jag, värdeperspektiv, primär- och sekundärbilder och att man satt samman olika bildkvaliteter och därmed skapat olika fiktionsgrader i bildrummen. Bilderna har delats upp i två kategorier. ”Professionen i centrum för uppdraget” gestaltar en lärare tillsammans med andra människor i en social situation vilken refererar till en yrkestradition. ”Personligheten i centrum för uppdraget” lyfter fram den gestaltades personlighet eller att andra aspekter kan rymmas i lärarrollen. Här visualiseras ideala figurer, motstånd och en intimisering av skolans praktik. För samtliga bilder finns ett genomgående tema, att skriva in lärargestalten i ämnet bild eller konst- och populärkulturen. Ämnestillhörigheten framstår som en central föreställning om legitimitet och auktoritet. När personligheten är i centrum för läraruppdraget, brukas i högre grad stereotypa gestaltningar. När läraruppdraget är i centrum gestaltas det som en social gruppaktivitet för männen medan kvinnorna gestaltar uppdraget som en individuell uppgift vilket framstår som olika föreställningar om hur femininitet respektive maskulinitet konstrueras i lärarpraktiker. Även reflexivitet eller ett prövande förhållningssätt till praktiken förekommer i högre grad i kvinnornas bilder vilket även tolkas som en förväntad feminin hållning. Kvinnors kroppar representeras inte i lika hög grad som mäns kroppar när uppdraget är i centrum. Här kan en samhällelig diskurs kring sexualiserade bilder vara verksam, men även representationer av makt- eller legitimitet. / The aim of the thesis is to examine visualized conceptions about the profession of art teachers in the Art Teacher Education Programme. This is accomplished through analysing how art teacher students represent themselves as teachers in digital images and recognize the impact of gender. The pictures are analysed discursively in order to search for the answers to the following questions: What in the teacher’s role is expressed in these pictures? What kinds of figures or representations are chosen? How can these choices be understood? What visual devices are used? The empirical material of the thesis is based on a selection of pictures made by art teacher students during a course in Computer graphics/Digital Image Processing at the Department of Creative Studies in Teacher Education, Umeå University, between the years 2000-2002. There are fifty-nine pictures made by forty-five women and fourteen men. Each student has accepted the conditions of participation in the study. The images may be assumed to give shape to ideas, things taken for granted and expected experiences; and subsequently constitute an arena for problemizing of and reflection on the professional role. The thesis contains two methodological lines that include images, art making as a pedagogical method and analysis as a scientific method. Art making as a pedagogical method is based to a large extent on the work of Jo Spence, an English photographer. Rhetoric, the referentiality of the pictures and their intertextuality in combination with gender theoretical tools formed the basis of image analysis as a scientific method. A combination of gender theories and semiotic and sociocultural theories was then used in the interpretations. Collage and montage largely made up the technical basis of the images, and in the created pictorial spaces most rhetorical devices occurred as intertextual references to genres in the world of art and popular culture, from canonized works of art to films, fantasy and commercial advertising, multiple egos, value perspectives, primary and secondary images, and combinations of different image qualities resulting in the creation of different degrees of fiction in the pictorial spaces. The pictures were divided into two categories. “The profession at the centre of the assignment” depicts a teacher together with other people in a social situation, which refers to a professional tradition. “The personality at the centre of the assignment” emphasizes the depicted individual’s personality or that other cultures can be included in the teacher’s role. What are visualized here are ideal figures, resistance and intimization of the practice of schools. In all the images there is an all-pervading theme, namely to engrave the teacher’s persona in the subject of art or the art and popular culture. The attachment to the subject appears as a central conception of legitimacy and authority. When the personality is at the centre of the teaching assignment, stereotypical representations are used to a higher degree. When the teaching assignment is at the centre, it is depicted as a social group activity for the men, while the women depict the assignment as an individual task, which appears as if different conceptions of femininity and masculinity are constructed in teaching practices. Reflexivity or a searching attitude to the practice also occurs to a higher degree in the women’s images, which in turn is also interpreted as an expected feminine attitude. Women’s bodies are not represented to the same high extent as men’s bodies when the assignment is at the centre. A general discourse on sexualized images may be at work here, but also representations of power or legitimacy.

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Studiens syfte är att analysera hur tre bildlärare på högstadiet bedriver sin bildundervisning av nyanlända elever som ännu inte till fullo behärskar svenska språket. Frågeställningarna innefattar olika strategier i bildundervisningen samt vilka problem och möjligheter lärarna upplever i en undervisning utan gemensamt talat språk. Studien innefattar tre semistrukturerade intervjuer – två muntliga och en skriftlig. Resultatet visar att samtliga lärare hade utarbetat och var i färd att utveckla en mängd olika strategier. Bildämnets multimodala resurser och de nyanlända elevernas flerspråkighet var centrala strategier för att överbrygga språkbarriären och skapa förståelse i ämnet. Främst två av lärarna ville även vidareutveckla undervisningen genom utökat kollegialt samarbete. Problemen lärarna uppfattade handlade till stor del om tidsbrist.  För att främja de nyanlända elevernas lärandesituation behövde exempelvis en av lärarna mer tid tillsammans med dem innan de började i ordinarie bildundervisning. Lärarna nämnde många möjligheter angående bildämnets resurser som medel för förståelse, samt möjligheter med att använda elevernas starkaste språk vid bedömning av teoretiska delar. / The purpose of the study is to analyze how three high school art teachers educate newly arrived pupils who do not fully understand the Swedish language. The issues contain how the teachers work with certain strategies and what kind of problems and possibilities they perceive when teaching without a common spoken language. The study includes three semi structured interviews – two oral and one written. The results illustrate that all of the teachers had developed, and were in the process of developing, a variety of strategies. Central strategies in creating understanding were multimodal resources specific for the art subject, and the newly arrived pupils’ multilingualism. Mainly two of the teachers wanted to develop their education further through expanded collegiate corporation. The problems that the teachers perceived mainly had to do with lack of time. To better support the newly arrived pupils’ learning situation the teachers needed more time together with the pupils, before they entered the ordinary classes. The teachers mentioned several possibilities concerning the art subjects’ resources as tools in understanding each other. They also emphasized the possibilities of using the pupils’ strongest language in the matter of theoretical assessment.

Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";

This study explored the state of art education in Turkey as revealed by pre-service art education university instructors, and the potential of incorporating visual culture studies in pre-service art education in Turkey. The instructors' ideas about visual culture, and popular culture, the impact it might have, the content (objects), and the practices within the context of Turkey were examined. Visual culture was examined from an art education perspective that focuses on a pedagogical approach that emphasizes the perception and critique of popular culture and everyday cultural experiences, and the analysis of media including television programs, computer games, Internet sites, and advertisements. A phenomenological human science approach was employed in order to develop a description of the perception of visual culture in pre-service art education in Turkey as lived by the participants. In-person interviews were used to collect the data from a purposive sample of 8 faculty members who offered undergraduate and graduate art education pedagogy, art history, and studio courses within four-year public universities. This empirical approach sought to obtain comprehensive descriptions of an experience through semi-structural interviews. These interviews employed open-ended questions to gather information about the following: their educational and professional background; their definitions of art education and art teacher education and what it means for them to teach pre-service art education; critical reflections on the educational system of Turkey; perceptions of visual and popular culture; and finally individual approaches to teaching art education. This study was conducted for the purpose of benefiting pre-service art teacher education in general and specifically in Turkey. It provided the rationale, the nature, and pedagogy of visual culture as well as the why and how of visual culture art education in the context of Turkey. Furthermore, it provided insights into the potential contribution of the concept of visual culture to the understanding of art and improvement of art teacher training in the context of Turkey.

The overall objective of this thesis is to fill a gap in art historical research as well as in the history of women in a more general sense. The main focus is the life and work of artist Anna Berglund (1857-1946), who’s artistic practice spanned the fields of design, decorative art, calligraphy and watercolour painting. The thesis is the first attempt to conduct research into Berglund’s artistic practices. Primary sources from and about Berglund are scarce, as not much has survived the test of time in terms of personal documents such as letters, notes or diaries. Therefore, the political, social and cultural conditions of Berglund’s time and environment have complemented and contextualised the primary source material. Biographical method, archival research, and the application of sociologist Pierre Bourdieu’s field theory have formed the foundation of the thesis. In addition, the thesis is built around questions into 19th century women’s development of social networks and adaptation of strategies to navigate and establish themselves as professionals. The research show that Anna Berglund’s habitus and economic, cultural and social capital enabled her to enter and navigate the field. Furthermore, Berglund developed and adapted professional strategies to navigate the field and to build a network that enabled her to push her career forward. The nature of pattern drawing as a new and quickly expanding professional field in the late 1800s contributed and enabled Anna Berglund, as well as others, to enter, navigate and establish themselves on the field and as entrepreneurs.