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.

Η διδασκαλία της τέχνης στο σχολείο συμβάλλει στην ολόπλευρη ανάπτυξη του παιδιού, καλλιεργώντας τη δημιουργικότητά του και ενθαρρύνοντας την κοινωνικοποίησή του. Με την αλλαγή του αναλυτικού προγράμματος και την εισαγωγή του ΔΕΠΠΣ στην εκπαίδευση, εισήχθησαν και τα βιβλία των εικαστικών στα σχολεία. Ωστόσο, στο Δημοτικό Σχολείο το μάθημα των εικαστικών δεν διδάσκεται όπως ορίζεται από το αναλυτικό πρόγραμμα και οι εκπαιδευτικοί αποφεύγουν τη διδασκαλία του μαθήματος. Στην παρούσα μελέτη προσπαθούμε να διερευνήσουμε τους λόγους και τα αίτια που οδηγούν τους δασκάλους στην αποφυγή ή την τροποποίηση της διδασκαλίας του μαθήματος των εικαστικών και να προσδιορίσουμε κατά πόσο το βιβλίο των εικαστικών αποτελεί ή όχι χρηστικό εργαλείο για το δάσκαλο και τι στήριξη χρειάζεται για να νιώσει ικανός να συμπεριλάβει δράσεις εικαστικών στο πρόγραμμά του. Στόχος μας είναι, αξιοποιώντας την έρευνα δράσης ως ερευνητικό εργαλείο, να εντοπίσουμε ποια είναι η σύγχρονη σχολική πραγματικότητα, εάν υπάρχει ανταπόκριση από τους μαθητές στο μάθημα των εικαστικών και τι έχουν να προτείνουν οι εικαστικοί εκπαιδευτικοί για το θέμα. Από την έρευνα προέκυψε ότι αν και το βιβλίο των εικαστικών είναι ένα χρήσιμο εργαλείο δουλειάς για τα δάσκαλο, εντούτοις αισθάνεται αβεβαιότητα και ανασφάλεια να διδάξει το μάθημα αποφεύγοντας να το χρησιμοποιήσει. Προτείνεται η επιμόρφωση των δασκάλων στη διδακτική των εικαστικών, η αξιοποίηση των εικαστικών εκπαιδευτικών στα σχολεία και η βελτίωση της υλικοτεχνικής υποδομής των σχολείων με τη δημιουργία εξοπλισμένων εικαστικών εργαστηρίων. / The teaching of art in schools contributes to the multifaceted development of the child, cultivating his/her creativity and encouraging his/her socialization. With the change in the curriculum and the introduction of the cross-thematic curriculum framework in education, art books were introduced in schools. However, in primary schools, art is not taught as specified by the curriculum and teachers avoid teaching it. In the present study, we are trying to investigate the reasons teachers are led to avoid or modify the teaching of art and to determine whether or not the art book is a useful tool as well as what kind of support teachers need to feel competent to include art activities in their program. Using action research as a research tool, our aim is to trace the current reality in schools, to determine students’ responses towards art as well as teachers’ feedback on this issue. The present research shows that although the art book is a useful tool for the teacher, he/she feels unsure and lacks self-efficacy to teach this lesson and thus avoids using it. Consequently, we recommend that teachers be trained in the teaching of art, that art teachers be utilized in schools and finally that well-equipped art labs be created.

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.