Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Critical thinking and critical citizenship are generally considered to be desirable outcomes of the educational process as they enable students to make thoughtful choices. Citizenship Education does not currently form a separate part of the National Curriculum Statement (NCS), but is rather one of the main objectives and principles that shape the whole curriculum. In this research study, students took part in a project where the aim was to promote critical thinking and critical citizenship through the investigation of contemporary South African artworks. The purpose of the research was to firstly establish how students’ participation in the project affected their ability to think critically about Post-1994 South African art and the issues it conveys. Secondly the aim was to establish how effective the teaching strategies employed were in facilitating critical thinking and critical citizenship. An interpretative approach was followed in this case study. The nature of this research is predominantly qualitative, but is used in conjunction with quantitative methods to measure the increase of critical thinking applied. During the base-line assessment, students’ initial critical thinking skills were measured through the analysis of previously unseen images. Their ability to critically analyse artworks was assessed by utilising the Artful Citizenship Visual/Critical Literacy Scoring Rubric compiled by Rawlinson et al (2007). In the post-project assessment, the same visual examples and rubric were used, to detect possible changes in the students’ ability to apply critical thinking. Main themes and sub-themes were identified during the project. The main themes were knowledge, power and identity. The subthemes were meaningful knowledge, citing of evidence, experience, multiple opinions, exclusion of voices, power versus rights, binary oppositions and self in relation to other. With these themes, I aimed to unpack and explain the differences that occurred in the results from the pre- and post-project assessment. The findings of the post-project assessment showed a 39% improvement of critical thinking applied subsequent to the project. The teaching strategies followed during this project proved to be effective as the ability of the students to think critically was positively affected. The research indicated that activities which exposed students to multiple perspectives were conducive to the development of critical thinking. / AFRIKAANSE OPSOMMING: Kritiese denke en kritiese burgerskap word beskou as gunstige uitkomste van die opvoedingsproses omrede dit studente toerus om deurdagte besluite te neem. Burgerskapopvoeding vorm nie deel van die Nasionale Kurrikulum Verklaring (NKV) nie, maar is eerder een van die hoofdoelwitte en beginsels wat die hele kurrikulum uitmaak. In hierdie navorsingstudie het studente deelgeneem aan ‘n projek wat kontemporêre Suid-Afrikaanse kunswerke ondersoek. Die projek het beoog om daardeur kritiese denke en kritiese burgerskap aan te moedig. Die doel van hierdie navorsing was eerstens om te wys hoe studente se deelname in hierdie projek hulle vaardigheid beïnvloed om krities te dink oor Post-1994 Suid-Afrikaanse kunswerke, asook die kwessies wat dit kommunikeer. Dit was verder die doelwit om te wys hoe effektief die geïmplimenteerde onderrigstrategiӫe was in die fasilitering van kritiese denke en kritiese burgerskap. ‘n Interpreterende benadering is gevolg in hierdie gevallestudie. Die navorsing is oorwegend kwalitatief, maar word in kombinasie met kwantitatiewe metodes gebruik om die verbetering in aanwending van kritiese denke te bepaal. Gedurende die grondlynassessering is die studente se aanvanklike kritiese denkvaardighede bevestig deur die analise van onbekende kunswerke. Hulle vaardigheid om kunswerke krities te analiseer is gemeet deur middel van die Vaardige Burgerskap Visuele / Kritiese Geletterdheid-Telling-Rubriek saamgestel deur Rawlinson et al (2007). Dieselfde visuele voorbeelde en rubriek was gebruik in ‘n na-projekassessering om moontlike veranderinge in die studente se kritiese denke te bespeur. Hooftemas en subtemas was geïdentifiseer gedurende die projek. Die hooftemas is kennis, mag, en identiteit. Die subtemas is betekenisvolle kennis, ervaring, verwysing na bewyse, meervuldige opinies, uitsluiting van stemme, mag teenoor regte, binêre opposisies en die self in verhouding tot ander. Met hierdie temas het ek gepoog om die verskil in die resultate tussen die grondlyn- en na-projekassessering te verstaan en te verduidelik. Die bevindinge toon ‘n 39% verbetering in die aanwending van kritiese denke na afloop van die projek. Die onderrigstrategiӫe wat aangewend is in hierdie projek was effektief omrede die vaardigheid van die studente om krities te dink positief beïnvloed was. Die navorsing het aangedui dat aktiwiteite wat die studente blootstel aan meervuldige perspektiewe, bydra tot die ontwikkeling van kritiese denke.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2015 / This research explores the dialogical in arts pedagogy. This form of pedagogy is understood to allow for both the learner and educator to participate by exchanging experiences without the one being more superior to the other (Freire 1968, p. 169). In this thesis I use the Zulu term Inkulumo-Mpendulwano, which, rudimentarily, means dialogue. Broken down, Inkulumo means to talk or to have a conversation and Mpendulwano means to respond. However, I also use the term Ukufundisa, which means “to teach” but also “to instruct” and “to school” which is an authoritarian way of teaching. What is emphasised in this research is not only the potentiality of InkulumoMpendulwano interactions which can be adapted in the classroom as well as curated spaces, but by introducing different terminologies I attempt to reimagine the language and practices associated with arts education. This further engages with the possibility of changes in terminology and vocabularies, how the written and spoken is understood differently and how visual and spatial modes become central to changing the learner/teacher dynamic. This dissertation exemplifies two cases of the dialogical arts pedagogy. The first is a case study of Keleketla! Library and the second is a participatory action research approach where I work as an artist-educator for the practical component of this research entitled Artucation Programme. The outcome of this research is a written dissertation and a creative project that investigates InkulumoMpendulwano interactions in arts education. / XL2018

Thesis Submitted in fulfilment of the requirements for the degree Doctor Educationis in the Faculty of Education and Social Sciences at the CAPE PENINSULA UNIVERSITY OF TECHNOLOGY, 2012 / Quality and meaningful art education is a very important vehicle for learning and knowledge acquisition which is within the reach of all children in schools. Unfortunately, due to a variety of reasons such as the fact that generalist trained teachers, with no specialised training in art, are responsible for the teaching of art in schools in South Africa, as well as recurring educational change and subsequent uncertainty, lead to the situation that art lessons currently taught at many schools do not answer to the requirements for quality art education. There is a great need for in-service training to address the shortfalls in the teaching of art in schools. When skills building workshops in art education were offered, teachers requested personal interventions on a one-to-one basis with a focus on their own particular strengths and shortcomings. Mentoring the educators seems to be a means of addressing their needs to improve the quality of their teaching of art. In response to a plea from teachers this research project was designed during which inexperienced and insufficiently trained teachers who are responsible for art education were mentored. Four sites were selected at which the teachers were mentored. There were marked differences in the circumstances and conditions at the four schools, however, from all the sites there was an outcry for assistance in the planning and presentation of quality art lessons and for lesson ideas. The one similarity in all the cases was the fact that they were all generalist trained teachers who are responsible for the teaching of art in their own class and some other classes as well. The mentoring followed a cyclical process and was adapted for art education. The process comprised the establishment of a relationship in which the mentor and mentee played equally important roles, needs analysis, the mentoring process, which iv consisted of joint planning of lessons, model teaching, discussions and coaching sessions, reflection and then to return to the beginning of the cycle. The process concluded with a workshop. The entire process was recorded, reported on and assessed upon termination. Data that was collected at the four sites was analysed according to themes that were developed from the literature on mentoring in education as well as the literature on quality and meaningful art education. Themes that have emerged are the mentoring relationship, the role of the mentor, the role of the mentee, the purpose and goals of the mentoring, the mentoring process and the mentoring outcomes. The thesis concludes with recommendations for the mentoring of educators in the teaching of quality and meaningful art and suggests that no child should be deprived of the learning opportunities through art that can form part of their primary school experience.

I have examined the relationship between the art institution and its social base, and the way in which legitimacy is sought and maintained under changing social circumstances. The social pattern of 'avante garde artist' vs. 'philistine public' has tended to be the context within which 20th century art has developed. The consequent disjuncture between the public art institution and its social base was subsequently accepted as the natural condition of Fine Art production. During the 1980's, two significant factors were to influence this 'natural' condition: i) The demise of 'modernism' internationally, ' which broadened the scope of allowable objects for consideration as Fine Art. ii) Political mobilisation in South Africa was accompanied by calls for democratisation and charges of 'elitism' being levelled against many public institutions. These factors have combined to make the S.A. art institutions (public galleries, tertiary teaching institutions and national art competitions) re-assess their legitimacy, particularly in terms of 'accountability' and 'representativeness' . A close examination of these two factors is essential if one is to gain insight into the current condition of the public art institutions. This research is an attempt to understand the history and the current nature of the shifting relationship between the art institutions and the 'public' in South Africa. A further goal is to assess the extent to which concepts that are valid within the realm of the polity can be transposed into the cultural realm: A tendency prevalent within the cultural debate in South Africa during the 1980's. The emphasis of this mini thesis is on the artworld's perception of its social role. I therefore look at the way changing attitudes are reflected in the statements and writing of leading figures within this sector. The method is to critically analyse texts that pertain to my chosen area of research.

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

Thesis (MA(VA))--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The notion of critical citizenship has become a diverse phenomenon in both South African and global contemporary societies. The purpose of this study is to investigate how the teaching and learning of critical citizenship can be improved in the South African context through participation in art-making processes. This was done by following a qualitative approach and a case study design. The following themes were explored in this study: conceptual abilities; the technicalities of practice; art and emotional development; and collaborative art making. The findings in this investigation showed that involvement in art-making processes certainly contributes to the development of a learner’s ability to become more intelligent, self initiated and critical thinkers. The investigation also shows that the visual arts learning area is recognized as an educational practice that encourages critical thinking and the ability to conceptualize, but the implementation of critical citizenship in both the practical and theoretical teaching of art-making processes is currently lacking. It is suggested that a holistic understanding of both practical and theoretical components in the grade 9 visual arts learning area should be maintained on an equal footing. The emotional development of learners is also identified as a source of concern, since it influences a learner’s adherence to participation with others. It is further suggested that collaborative art making urges learners to engage with the ideas of others in the classroom and therefore can encourage tolerance towards other members of the group. Critical citizenship education in the teaching and learning of the visual arts learning area can have more robust impact on the future of a democratic society if it is implemented more directly in the classroom environment. / AFRIKAANSE OPSOMMING: Die idee van kritiese burgerskap het ‘n diverse verskynsel in beide die Suid-Afrikaanse en globale eietydse samelewings geword. Die doel van hierdie studie is om te ondersoek hoe die onderrig en aanleer van kritiese burgerskap in die Suid-Afrikaanse konteks verbeter kan word deur deelname aan kunsskeppende prosesse. Dit is gedoen deur gebruik te maak van ‘n kwalitatiewe benadering en ‘n gevallestudie-ontwerp. Die volgende temas is in hierdie studie ondersoek: konseptuele vermoëns; die tegniese aspekte van kunspraktyk; kuns en emosionele ontwikkeling; en gesamentlike kunsskepping. Die studie se bevindinge het gewys dat betrokkenheid in kunsskeppende prosesse bydra tot die ontwikkeling van ‘n leerder se vermoë om ‘n meer intelligente, self-geïnisieerde en kritiese denker te word. Die ondersoek het ook gewys dat die visuele kuns leerarea erken word as ‘n opvoedkundige praktyk wat kritiese denke en die vermoë om te konseptualiseer aanmoedig, maar dat die implementering van kritiese burgerskap in beide die praktiese en teoretiese onderrig van kunsskeppende prosesse tans gebrekkig is. Daar word aanbeveel dat ‘n holistiese begrip van beide die praktiese en teoretiese komponente in die Graad 9 visuele kuns leerarea op ‘n gelyke grondslag gehandhaaf word. Die emosionele ontwikkeling van leerders is ook geïdentifiseer as ‘n bron van kommer, aangesien dit ‘n leerder se samewerking met ander beïnvloed. Daar word verder daarop gewys dat gesamentlike kunsskepping leerders kan aanspoor om met ander persone se idees in aanraking te kom, en sodoende verdraagsaamheid teenoor ander lede van die groep te bevorder. Kritiese burgerskap opvoeding in die onderrig en aanleer van die visuele kuns leerarea kan meer robuuste gevolge vir die toekoms van ‘n demokratiese samelewing inhou indien dit meer direk in die klaskamer aangewend word.

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005

Abstract not available. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 1997.