The purpose of this study was to illuminate characteristics of the pedagogical learning environment in three contemporary MFA Visual Arts programs in the United States and to investigate effective pedagogical practice for graduate art students in preparation for teaching in higher education. According to the College Art Association (CAA), the MFA is considered the terminal degree in the visual arts, unlike other related fields such as art history and art education, where the doctorate is the highest degree. While MFA students can pursue a professional practice of creating and exhibiting their artwork after graduation, many students also enter the MFA with the aim of becoming college art educators. However, there has been a lack of research that specifically examines the degree to which MFA visual arts students are being prepared for teaching. How are students preparing to become college art faculty, and what professional development programs are provided to graduate art students to help them teach art at the college level? These are questions that were the background context of this dissertation study. This study took the form of a cross-case analysis that employed qualitative and descriptive case study traditions. Data were collected from multiple sources: primary documents and semi-structured interviews with nine MFA students, six studio art faculty members, and three administrators at three MFA programs. This study presented findings of: (a) the pedagogical preparation offered to graduate students by the selected art schools; (b) the perceptions of graduate art students, studio art faculty, and administrators regarding the quality of current academic career preparation, specifically for teaching, in their MFA programs; (c) the insights of those participants into the most important characteristics of college teaching preparation; and (d) suggestions by the participants for the best practices that lead students to become successful college art educators. Based on the findings through an analysis of the learning and practical experiences of MFA students and the perspectives of faculty and administrators, I hope that the study will extend the field’s understanding of the state of college teaching preparation in higher art education.

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.";

Thesis in compliance with the requirements for the Doctor’s Degree in Technology: Language Practice, Durban University of Technology, 2012. / South Africa’s dynamic post-Apartheid education climate is beset by a plethora of new policies designed to transform education. Our county’s educators are expected to be the alchemists of change to create the new and transformed society envisaged in these policies, albeit with insufficient logistical planning and support. Moreover, so many of our schools are operationally dysfunctional, with literacy and numeracy levels at an all time low. Under these daunting circumstances our Provincial Education Department Teacher Development Institution, Ikhwezi In-Service Training Institute, develops training materials and delivers courses aimed at implementing policy while at the same time modelling progressive, internationally recognized and democratic adult-based methodology. In this self-study project of my departmental work with a group of trained educators, I use action research to trace the potential of integrated arts to transform teaching and learning in under-resourced rural and township classrooms. An aspect of this self-study looks at the therapeutic potential of the arts in my own life and career as an arts educator. When my Masters research revealed the dramatic effect a project-like arts approach to teaching could engender, I was motivated by compassion to develop the work further to reach a broader base of learners. I also wished to educate the authorities into mainstreaming the default marginalising of the arts in schools by developing photographic, written and video evidence promoting the arts in schools, mainly to emphasize their holistic educational role, but also as an essential healing, a potential remedy for the ills of the past that continue to impact on the present. / D

The purpose of this study was twofold: (1) to examine the knowledge, skills, and experiences in the enameling arts and the attitudes and perceptions of in-service (n = 12) and pre-service Kuwaiti art teachers (n = 170), art supervisors at the Ministry of Education (MOE) (n = 3) and art education faculty members at the College of Basic Education (CBE) and Kuwait University (KU) (n = 8) about what they believed pre-service art teachers should know and be able to do in order to teach the enameling arts, and (2) to use this information to inform and guide the development of a content outline for an enameling course for pre-service Kuwaiti art teachers that is educationally (how to perform enameling arts skills and how to teach what they know), practically (safety issues, workshop management, etc), and culturally (its relation to Islamic culture) suitable. Both quantitative and qualitative approaches were used. Most of the respondents revealed limited knowledge and skills and modest experiences in the enameling arts. All interviewees in the study expressed positive perceptions and attitudes about the enameling arts. Most agreed that a revision to the current art education curriculum at the CBE was needed and made suggestions about how the curriculum should be revised. It was clear that there is a disconnection and miscommunication between the MOE and the CBE with regards to the information about enameling that should be covered and taught in the art education classes. All respondents expressed support for the inclusion of a course in enameling in the art education curriculum at the CBE. Because of the limited knowledge of the participants in the study, they were not able to provide guidance in shaping the content for a course in the enameling arts. The researcher had to rely on the literature review and his expertise as an enameling artist to develop a content outline that was educationally, practically, and culturally suitable for the pre-service Kuwaiti art teachers. Further study was recommended in regard to curriculum issues, especially those related to the inclusion of Islamic culture, and methods of delivering instruction in the enameling arts.

As a doctoral student, I was asked to teach a course based on emerging technologies and postmodern methods of inquiry in the field of art education. The course was titled Issues and Applications of Technology in Art Education and I developed a method of inquiry called animated autoethnography for pre-service art educators while teaching this course. Through this dissertation, I describe, analyze, interrogate, value, contextualize, reflect on, and artistically react to the autoethnographic animated processes of five pre-service art educators who were enrolled in the course. I interviewed the five participants before and after the creation of their animated autoethnographies and incorporated actor-network theory within the theoretical analysis to study how the insights of my students’ autoethnographies related to my own animations and life narratives. The study also examines animated autoethnography as a method of inquiry that may develop or enhance future teaching practices and encourage empathic connections through researching the self. These selected students created animations that accessed significant life moments, personal struggles, and triumphs, and they exhibited unique representations of self. Pre-service art educators can use self-research to create narrative-based short animations and also use socio-emotional learning to encourage the development of empathy within the classroom. I show diverse student examples, compare them to my own animations, and present a new model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.

University-based teacher educators’ first three years on the job are often imbued with tension, as they must renegotiate their professional identities and pedagogical philosophies in relation to ambiguous and sometimes conflicting expectations of what they should do and stand for in this role. As role models for aspiring art teachers, art teacher educators have a powerful influence on their pre-service students’ views of teaching, and on their emergent professional dispositions. However, despite the moral and intellectual significance of their work, and the diversity of their identities and work contexts, research on this population is limited and does not reflect current demographics in the field. While existing studies suggest some of the tensions that art teacher educators—both new and veteran—face on the job, research has not yet explored how new faculty members, specifically, experience their earliest years in the role nor how they learn to develop personally authentic art teacher education pedagogy. This qualitative multi-case study responds to these gaps in the literature, and to the understanding that new knowledge-for-practice is often generated within spaces of creative tension such as career transition. The study participants were eight full-time art education faculty members with less than three years in the role. Individual and cross-case analysis of data collected through semi-structured interviews, qualitative questionnaires, and reflective tasks, revealed that participants’ tensions were predominantly influenced by discrepancies between (1) their established occupational roles/identities and practices, and expectations placed upon them in the art teacher educator role that they had not fully anticipated, and (2) their own, and others’ art-education-related (ideological) values. Most of the participants identified strongly with discipline-specific values (e.g., being grounded in activism and arts-informed social justice). These values functioned as core elements of their professional identities and of their teaching, research, and scholarship. However, in some cases, there were difficulties in translating these values into effective art teacher education pedagogical content knowledge. The data analysis suggested that through reflecting on tensions, participants gained increased professional self-understanding and keener awareness of the forces that enable or constrain the enactment of their personal pedagogical values. Additionally, the data suggest that greater intentional preparation and support for this role (particularly mentorship that validates their established identities and backgrounds) prior to and during the early years, could greatly benefit art teacher educators’ adjustments into the academy and facilitate their building of pedagogical content knowledge for this role.

Art educators have expressed the need for art teachers with more qualifications and for more evidence of creativity and successful art experience. The purpose of this project is to illustrate the importance of the interrelationship between the action-oriented sensory capacities of the artist and the verbal-analytical capacities of the teacher, and in so doing to develop a vehicle through which an art teacher might demonstrate the necessary proficiency in at least one medium within the fine arts. More specifically, the objective of the project is the development of an art exhibit to validate the competency of the artist-teacher in the medium of oil painting. The philosophy of every art teacher should be based on art as experience, since valid creative work evolves from sensitive experience. An art teacher must be able to communicate with a student verbally; worlds are one relationship to the creative experience, the art forms another. Much precise thought can go on in words, but ultimately it can only be meaningful for the teacher and student, in turn, if both have experienced art. The teacher should be a creative artist in his own right. He should know from “doing” the experience he is to teach. For the purpose of the study, the literature was divided into five categories: 1) philosophical and psychological, 2) definitive information, 3) historical, 4) present attitudes, and 5) implications for the future. The evidence in the literature indicated that art educators strongly favor the idea that the teacher should be a creative artist in his own right, that he should be skilled in at least one major productive area of art. The vehicle developed in this project was an art exhibit containing fifteen oil paintings. The University of North Florida Library Exhibit Area was chosen as the site of the display which was scheduled from July 18-29, 1977. The show was accompanied by a reception; a printed brochure and invitation described the project, the background of the artist, and contained a list of the paintings. The project contains a complete photographic record of all works in the exhibit. An evaluation of the work was undertaken by a group of five qualified judges in the field of fine arts and art education. At the close of the exhibit the responses to the evaluation were tabulated and a correlation was made on the ratings of five paintings chosen at random from the show.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-03-10T19:25:41Z No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-14T15:12:31Z (GMT) No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-14T15:12:31Z (GMT). No. of bitstreams: 2 Tese - Valéria Fabiane Braga Ferreira Cabral - 2015.pdf: 8438468 bytes, checksum: 343f29f2528f6bf2f8152b218e69c880 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-12-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research was conducted with 11 students from the Visual Arts Undergraduate Course, Pró-Licenciatura Program, e-learning, at the Visual Arts College – Federal University of Goiás. The data include observations, statements/comments and images posted and gathered during face-to-face meetings, conversation groups, forums discussions and online diary on the digital environment. Two methodological dimensions on the development of practices that stimulate educational experiences outside the formal school environment, although in tune with it. They are proposals developed on Goiânia city’s cultural spaces, among 2009 and 2012, which projected strategies to answer learning/teaching demands not only through digital environments. The second methodological dimension is directed towards the dialogue-oriented inquiry practice that intertwines teacher research and action-research, with a narrative inclined tonic. This inquiry unfolds itself from interests assembled since the undergraduate school, when I used to consider about my own teaching practice, observing how my professional motivations were turning themselves towards the investigative processes, used to and teaching – built during the inquiry process. The analysis focus three points: 1) Appropriation as action form on school practices, boosting pedagogical planning and possibilities of creation; 2) Making/producing as way/attitude on pedagogical spaces, inhabited by feelings and subjectivities, promoting experiences, affecting and provoking behaviors amongst the people involved; 3) Time, space and thinking displacements of a meaning (re)creation for my teaching practice, considering the lived experiences on this e-learning context. An education genre that affected me given its capacity for constitute and expand learning ways established from the experiences with the students in training. A way of apprehending the world, the others and ourselves. / Esta pesquisa foi realizada com onze estudantes do Programa Pró-Licenciatura do Curso de Licenciatura em Artes Visuais, modalidade à distância, da Faculdade de Artes Visuais da Universidade Federal de Goiás. Os dados incluem observações, falas/comentários e imagens postadas e colhidas em encontros presenciais, rodas de conversa, discussões nos fóruns e no diário online no ambiente digital. A investigação combina duas dimensões metodológicas. A primeira dimensão, pedagógica, centrada na elaboração de práticas que estimulam experiências educativas fora do espaço escolar formal, contudo em sintonia com ele. São propostas desenvolvidas em espaços culturais da cidade de Goiânia, entre 2009 e 2012, que projetaram estratégias para atender demandas de aprendizagem/ensino em arte em ambientes não apenas digitais. A segunda dimensão metodológica se direciona à prática investigativa orientada por diálogos que entrecruzam investigação docente com viés narrativo e estratégias da pesquisa-ação. Esta pesquisa desdobra-se de interesses reunidos ainda no curso de graduação quando refletia sobre minha prática docente e observava como minhas motivações profissionais se dirigiam à utilização de processos investigativos para compreender, com os/as participantes ‘como as coisas funcionam’ em nosso próprio – de pesquisa e de ensino – construída durante a pesquisa. A análise foca três pontos: 1) Apropriação como forma de ação em práticas na escola, impulsionando possibilidades de planejamento e criação; 2) Fazer/produzir como formaatitude em espaço pedagógico, habitado por sentimentos e subjetividades, promovendo experiências, afetando e provocando comportamentos nas/os envolvidas/os; 3) Deslocamentos no tempo, espaço e pensamento que desencadeiam um processo de permanente reflexividade sobre o que fazemos. Estamos pontos sintetizam as reflexões e enfatizam a prática da reflexividade como dispositivo para desvelar aspectos do ambiente de atuação docente em artes visuais. Busco a reflexividade no sentido de (re)criar um universo de significações para a minha atuação docente considerando as experiências vividas no contexto deste curso na modalidade à distância. Modalidade de ensino que me afetou pela sua capacidade de construir e ampliar modos de aprendizagens instituídas nas experiências com estudantes em formação e como um modo de apreensão do mundo, de nós mesmos e dos outros.

To enter higher education means making new experiences and develop newunderstanding within a knowledge field. The situation could also entail, for thestudent, an entirely different self-understanding. This licentiate thesis deals withthis kind of learning process.The overall aim of this licentiate thesis is to analyze what an art teachers education,founded on contemporary conceptual art, can offer in terms of transformativelearning. The point of departure is adults learning processes as renegotiations ofprevious interpretations which can be transformed to new understanding. The studyanalyzes what aspects of transformative learning are reflected in students' texts andimages, produced as part of the studied course. The licentiate thesis also discussespossibilities and constraints of this learning process. The study was conducted as acase study based on a hermeneutic approach. Material was collected from thecourse blog which consisted of students' texts and images.The study results show a transformative learning process which students experiencedas emotionally tumultuous because their self-image, as future art teachers, isrenegotiated. The situation contains a dimension of learning which I call "twistingand turning" in which new understanding is being formed. This situation requires aself-reflexive creative approach. The result generates questions about therelationship between the content of the education (what) and the learner (who) in anart teachers education founded on a non-traditional base. This applies above all ineducations that challenge students' prior understanding of a field. One could alsoask how adult learning is staged as relearning in higher education. The studydevelops a concept of reflexive creativity which contains a more abstract level thanjust problem solving. The idea of reflexive turn in art education, based onconceptually contemporary art, is also discussed.

Made available in DSpace on 2017-07-21T20:31:34Z (GMT). No. of bitstreams: 1 Luizana Pellizzari.pdf: 391691 bytes, checksum: abbbfa374343c995fae8ce89d8e085f0 (MD5) Previous issue date: 2006-03-08 / This work describes an aesthetic experiment with students in the second year of the Visual Arts course at the State University of Ponta Grossa (PR) in 2004. Its central issue is: Could a certain practice of familiarization and production with contemporary art interfere in students’ conceptions and practices regarding art and the teaching of art? The focus of this proposal was the 26th International Bienal in São Paulo. Some initial inquiries guided the study, due to these students’ school background: how did their contact with art, mainly the contemporary one, develop? Which aesthetic processes have they been through? Could their conceptions and practice change with the teacher’s intervention? The reflections developed during the research time aimed at surveying concepts and practices that remain and the ones that change, as well as the possibility of inserting contemporary art as one of the subjects taught. The formulations of the dialectical materialism were used as theoretical-methodological reference in order to better understand the relations between art and society, art in the capitalist society and the government policies for the teaching of art in Brazil. The action-research was used as a methodological strategy so that an aesthetic experiment could be put into practice and from these possibilities of education and training of Visual Arts teachers could be extracted. / O trabalho relata uma experiência estética envolvendo a turma do 2º ano de Licenciatura em Artes Visuais da Universidade Estadual de Ponta Grossa (PR), no ano de 2004, tendo como questão central: uma prática de familiarização e produção com arte contemporânea poderia interferir nas concepções e práticas desses alunos quanto à arte e ensino de arte? O foco dessa proposta foi a 26ª Bienal Internacional de São Paulo. Algumas indagações iniciais nortearam o trabalho: dados os antecedentes escolares desses alunos: como se processou o contato com a arte e em especial com a contemporânea? Quais os processos estéticos pelos quais passaram? Haveria mudança de concepção e prática tendo em vista uma intervenção docente? As reflexões ocorridas durante a pesquisa objetivaram levantar conceitos e práticas que permanecem e que mudam bem como as possibilidades de inserção da arte contemporânea na atividade docente. Como referencial teórico-metodológico mais amplo foram utilizadas as formulações do materialismo dialético para compreender as relações entre arte e sociedade, arte na sociedade capitalista e as políticas para o ensino de arte no Brasil. A pesquisa-ação foi usada como estratégia metodológica para colocar em prática uma experiência estética e dela deduzir as possibilidades educativas na formação de professores de artes visuais.