This study investigates one teacher’s strategies and use of critical inquiry skills whilst teaching a senior art class about contemporary artworks. It has sought to identify the strengths and challenges one teacher faces whilst teaching contemporary artworks through a postmodern art curriculum. It looks at thinking and learning opportunities through critically responsive teaching and seeks to recognize the importance of an innovative and imaginative approach. / The research process comprised gathering information through a series of interviews and observations of one teacher over five consecutive theoretical lessons. The results of these recorded interviews as well as the observational notes and transcriptions provided me with ample data for analysis and discussion. The students’ responses were analysed in terms of the VCE art curriculum’s requirements using the interpretive frameworks and for the development of critical thinking in the study of postmodern list art. / The results indicate that developing thinking skills contributes to a students ability to problem solve and make decisions. Strategies for thinking and learning are enhanced in a quality learning environment which challenges students, promotes reflection and critical inquiry and involves students in meaningful learning opportunities. This study has shown how studying contemporary art contributes to overall development of the mind through innovative pedagogy. It has also shown that traditional teaching approaches to art curriculum design framed by postmodern perspectives have the ability provide students with comprehensive and interesting learning opportunities. / The significance of this study is that it has shown that the new curriculum with its emphasis on the interpretive frameworks can be taught with traditional methods. As the teacher gains confidence with the method he is also able to expand his approaches and adapt his teaching style to facilitate a productive outcome. This is seen in the growth of thinking skills and knowledge revealed by this small group of students in an outer metropolitan Victorian secondary school.

Thesis (Ph.D.)--Ohio University, August, 2008. / Title from PDF t.p. Includes bibliographical references.

Thesis (Ed. D.)--Illinois State University, 1979. / Title from title page screen, viewed Feb. 11, 2005. Dissertation Committee: Jack Hobbs (chair), John Sharpham, Max Rennels, Lanny Morreau, Fred Mills. Includes bibliographical references (leaves 111-115) and abstract. Also available in print.

Thesis (M.A. Ed.)--Georgia State University, 2005. / Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-08-13Bitstream added on 2014-06-13T20:27:04Z : No. of bitstreams: 1 araujo_ams_me_ia.pdf: 527608 bytes, checksum: 062a63c24e4fd765f0847995cacd04b0 (MD5) / A presente pesquisa teve como objetivo analisar a formação continuada do professor de arte dialogando com a experiência pela sua história de vida. Apresenta dois momentos: o primeiro traz elaboração a partir de registros de professores de artes do programa Rede São Paulo de Formação Docente (Redefor) que é um convênio entre a Secretaria Estadual da Educação de São Paulo (Seesp) e as três universidades estaduais, dentre elas a Universidade Estadual Júlio de Mesquita Filho (Unesp); o segundo foi elaborado a partir de minha trajetória de formação e atuação profissional e artística. É uma pesquisa autobiográfica que contribuiu para o entendimento de que experiência não é apenas uma dinâmica pessoal, mas também social, cultural, contextual que está interligada num processo de formação identificada nestas ligações. O trabalho traz a reflexão da formação do professor de arte, envolvendo imaginação, adaptabilidade, flexibilidade, improvisação e experimentação e defende a valorização do eu profissional e do eu pessoal, é preciso analisar a nossa própria experiência e reconhecer o valor não apenas dos acertos mas também dos erros, repensar a vida, reviver reaprendendo, formando e reformando a si mesmo. / This research aimed to examine the continuing education art teacher talking from experience by his life story. It has two stages: the first brings development from records of arts teachers program REDEFOR (São Paulo Program of Teacher Education, The second was drawn from my career training and professional performance and artistic. It is an autobiographical research contributed to understanding that experience is not just a personal dynamics, but also social, cultural, contextual, that is interconnected in a training process identified these connections. The work brings reflection of teacher of art, involving imagination, adaptability, flexibility, improvisation, experimentation and advocates the development of the professional self and the personal self. We need to examine our own experience and recognize the value of not only hits but also the mistakes, rethink life, revive relearning, forming and reforming itself.

Orientador: Luiza Helena da Silva Christov / Banca: Eliane Bambini Gorgueira Bruno / Banca: Ecleide Cunico Furlanetto / Resumo: A presente pesquisa teve como objetivo analisar a formação continuada do professor de arte dialogando com a experiência pela sua história de vida. Apresenta dois momentos: o primeiro traz elaboração a partir de registros de professores de artes do programa Rede São Paulo de Formação Docente (Redefor) que é um convênio entre a Secretaria Estadual da Educação de São Paulo (Seesp) e as três universidades estaduais, dentre elas a Universidade Estadual Júlio de Mesquita Filho (Unesp); o segundo foi elaborado a partir de minha trajetória de formação e atuação profissional e artística. É uma pesquisa autobiográfica que contribuiu para o entendimento de que experiência não é apenas uma dinâmica pessoal, mas também social, cultural, contextual que está interligada num processo de formação identificada nestas ligações. O trabalho traz a reflexão da formação do professor de arte, envolvendo imaginação, adaptabilidade, flexibilidade, improvisação e experimentação e defende a valorização do eu profissional e do eu pessoal, é preciso analisar a nossa própria experiência e reconhecer o valor não apenas dos acertos mas também dos erros, repensar a vida, reviver reaprendendo, formando e reformando a si mesmo. / Abstract: This research aimed to examine the continuing education art teacher talking from experience by his life story. It has two stages: the first brings development from records of arts teachers program REDEFOR (São Paulo Program of Teacher Education, The second was drawn from my career training and professional performance and artistic. It is an autobiographical research contributed to understanding that experience is not just a personal dynamics, but also social, cultural, contextual, that is interconnected in a training process identified these connections. The work brings reflection of teacher of art, involving imagination, adaptability, flexibility, improvisation, experimentation and advocates the development of the professional self and the personal self. We need to examine our own experience and recognize the value of not only hits but also the mistakes, rethink life, revive relearning, forming and reforming itself. / Mestre

Esta dissertação tem como objetivo analisar a relação que arte-educadores fazem entre suas experiências formativas e atuação profissional. Para isso, discutiu-se o conceito de experiência trazido por Dewey (1974), Larrosa (2001) e Josso (2010). Entrevistamos quatro professores de Artes da região de Campinas acerca de sua formação inicial, formação continuada, prática docente, experiências formativas e vivências escolares. Abordando essas narrativas pessoais com o método do Image Watching (OTT, 1997) discorremos sobre as falas de professores, encontrando semelhanças e diferenças. Articulando as narrativas com a bibliografia estudada, propomos uma reflexão acerca das vivências destes professores, sujeitos das experiências relatadas. Além de uma autorreflexão sobre as práticas de cada arteeducador. / The aim of this thesis is to analyze the relations set by the art educators between their formative experiences and their professional performance. In order to reach this goal, it was discussed the notion of experience brought by Dewey (1974), Larrossa (2001) and Josso (2010). We interviewed four Art teachers, who live in the Campinas surroundings, about their initial formation, their continuous formation, their work as teachers, their formative experiences and their school experiences as well. By approaching those personal narratives using the Image Watching methodology (OTT, 1997), we narrated the teachers\' ways of speaking and we were able to find similarities and differences. After we articulated the narratives with the bibliography studied, we would like to propose a reflection about the life experiences of the referred to teachers, who are the main subjects of the experiments narrated hereby, as well as a self reflection on the practices of each art educator.

The purpose of this research was to investigate the past art experiences and the beliefs about ability to create art as held by beginning elementary generalist teachers, and the effects of those beliefs on art teaching. Constructivism as a learning theory formed the theoretical framework for this study. An investigation of the related literature explored the topics of ability to create art, elementary generalist teachers of art, beginning teachers, teachers' beliefs, preparation of art teachers, and beginning teachers' images of self as art teacher. The research, consisting of two phases, was conducted using a descriptive case study methodology. Phase one of the study consisted of using semi-structured interviews with eight elementary generalist teachers in order to determine their past art experiences and their beliefs about their ability to create art. Three of those participants formed the purposeful sample for phase two of the study which consisted of observations of five art lessons per participant, along with pre and post interviews. An extended final interview was conducted along with documentation examination and interviews with school personnel. The thesis which emerged from this study is that beliefs about ability to create art were formed from prior experiences with art, and that beliefs about an ability to create art affected the art teaching practice of the participants. The participants believed that they do not have an ability to create art and do not have the natural talent required to be an artist. These beliefs, along with their limited background in art, lack of subject matter knowledge in art, and their status as beginning teachers adversely affected their art teaching practice. This study revealed eight specific connections between beginning teachers' beliefs about their ability to create art and their art teaching practice. Insights into these beliefs about art making and their connections to art teaching suggest important implications. Noteworthy among these implications are the need for teacher education programs to provide for personal art making skill development and the need for schools to provide support and accountability within art education for beginning teachers. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

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.

The problem of this study is to determine to what extent crafts are being taught in the junior high schools, and the type and extent of training of those teachers teaching crafts in the junior high schools of Texas.