Este trabalho tem por objetivo contribuir para a reflexão sobre questões e desafios com que se defrontam aqueles que lidam com o ensino de arte no espaço escolar e também aqueles que trabalham com a formação de professores de Arte. Quando se distancia dos motivos que o levaram a escolher a docência como campo de atuação, o professor de Arte vive uma crise de sentido da profissão, que se revela tanto em suas ações como em suas concepções sobre o ensino-aprendizagem da arte. A hipótese central do trabalho é de que o encontro de sentidos para a profissão equivale à conquista de uma atitude crítica, reflexiva e inventiva no exercício da docência e, ainda, de que essa atitude pode ser favorecida pela aproximação do professor com o fenômeno artístico. São apresentados e discutidos os resultados de uma iniciativa desenvolvida com alunas do Curso de Especialização em Arte-Educação da Escola de Comunicações e Artes da USP, de 1997, quando a autora também o freqüentava, e de um projeto desenvolvido com professores de Arte de escolas municipais da região leste de São Paulo, durante o ano de 1999. O material de estudo é constituído de produções escritas e visuais dos sujeitos, bem como de relatos autobiográficos que tiveram como foco a formação pessoal nos campos da arte e da educação. As iniciativas desenvolvidas com os professores são discutidas à luz das contribuições advindas da história de vida como método de investigação e de formação de adultos, bem como dos estudos sobre a inteligência criadora, cuja principal manifestação é a capacidade humana de forjar projetos. O trabalho ajuda a dimensionar as possibilidades de atuação em uma modalidade de formação docente que, apesar das pesquisas em ritmo crescente, necessita de muitas outras investigações a respeito da interdependência entre os princípios norteadores para o ensino de arte no espaço escolar e as condições objetivas e subjetivas que favorecem ou dificultam o pleno exercício do arte-educador. / This paper objective is to contribute for the reflection about questions and challenges that those who lead with the teaching of Arts in the school space, and also those who work with the formation of Arts teachers face with. When the teacher sets apart from the motif that led him/her to choose teaching as his/her acting field, the Arts teacher faces crisis about the profession sense, that is reveled, both in his/her actions and in his/her conception about the teaching-learning process of Arts. The central hypothesis of the work is that the encounter of senses for the profession is the same as the conquest of a critica, reflexive and creative attitude in the practice of teaching, and, therefore, that this attitude can be favored by the approximation of the teacher and the artistic phenomenon. The results, herein presented and discussed, are part of a project developed by the students of the Especialization course in Arts-Education from Escola de Comunicação e Artes da USP, from 1997, when the author also took part of it, and from a project developed with Arts teachers from public schools of the East region of São Paulo, during the year of 1999. The study material is constituted of written and visual production of man/woman, as well as, autobiographic reports that had as focus the professional formation in Arts and Education fields. The initiative developed with the teachers are discussed by the light of contributions that came from life history as means of investigation and formation of adults, as well as studies about creative intelligence, whose main manifestation is the human capacity of forging projects. The work helps to give dimensions for the possibilities of acting in a kind of teaching formation, that, in spite of the increasing rythm of researches, needs much more investigation, regarding the interdependence between the base principles for the teaching of Arts in the school space, and the objective and subjective conditions that benefit or complicate the complete practice of the Arts teacher.

This study focused on composition teachers in elementary and secondary schools who researched their own teaching practices. Specifically, it examined political implications of their work within the larger context of the education hierarchy. Central to this examination were teacher-researcher (t-r) perceptions of and interactions with other members of the education hierarchy (i.e. university researchers, other t-rs, and students). Evidence for this study was gleaned from journal articles, descriptive essays, and conference sessions in which composition studies t-rs and their consultants discussed their work. A rhetorical analysis of what t-rs have said and written, along with an examination of the politically charged origins of the t-r movement support the hypothesis of this study: t-rs research (at least in part) for political empowerment. In the process of researching, t-rs alter their traditionally defined relationships with university researchers, other t-rs, and students. Composition studies offers a natural setting (philosophically and practically) for the t-r movement. / Graduation date: 1993

The primary purpose of the study was to identify major causes and subsequent effects of curriculum lag in industrial-technical education. The subsidiary purpose of the study was to compare hierarchical rankings of major causes of curriculum lag in industrial-technical education as perceived by superintendents, secondary school principals, and industrial-technical education teachers in Indiana public school systems.Usable data collected by questionnaire from 406 out of 540 sample subjects were computed to generate respective rank hierarchies of selected twenty causes of curriculum lag in industrial-technical programs. Decisions about two Null Hypotheses were made at 0.05 level by use of multivariate, univariate, and chi-square analyses.Findings1. Superintendents, principals, and industrial-technical teachers were in agreement that three most severe causes of curriculum lag in Indiana secondary industrial-technical programs were inadequate funding, outdated laboratory equipment, and lack of in-service training for industrial-technical teachers.2. Ninety percent agreement occurred between the three respondent groups on ten most severe or ten least severe causes of curriculum lag in Indiana secondary industrial-technical programs.3. As perceived by teachers, inadequate funding and lack of in-service training opportunities affected school corporations with smaller enrollments than school corporations with larger figures.4. There were no significant differences between sizes of school corporations and causes of curriculum lag in industrial-technical programs as perceived by school administrators.5. Items involving structuring of courses, students' interest to study, and evaluation process were ranked as three least severe problem's in industrial-technical education. Sixty-seven percent agreement occurred between the respondent groups in ranking the last three severe problems.Conclusions1. Indiana public high schools are not funded for industrial-technical programs.2. Indiana industrial-technical education teachers are not offered opportunities to improve already acquired skills through in-service training programs.3. Industrial-technical programs are taught with outdated equipment in Indiana secondary schools.4. Lack of funds and in-service training for industrial-technical teachers affected smaller school corporations more than larger school corporations.Additional observations made during the study were presented.

published_or_final_version / Education / Master / Master of Education

Thesis (Ph.D.)-University of KwaZulu-Natal, 2007. / This study explores the coming into being of a new Learning Area called Arts and Culture in the school curriculum in South Africa since 1997. The critical questions ask why Arts and Culture was deemed necessary in the new curriculum (Curriculum 2005); what factors influenced its design and did the Review process of 2000/1 effect significant changes to the Arts and Culture curriculum? The study draws its methodology from narratology, heuristic theory, discourse analysis and literary criticism in various ways. It uses narratology as the basis for analysis and as a representational device. As I was part of the policy development, the study commences with a personal narrative that sets the scene for the research. The primary data derive from interviews with policy makers, arts curriculum developers and arts practitioners and detailed analyses of relevant arts education policies. The first level of analysis entailed a narrative analysis of the interviews, focussing on the point of view and voice of the speaker. Documents were similarly analysed using a narratological lens developed for this study. The second level of analysis brought together the two sets of data and their individual stories to produce two differently focalized stories about the Arts and Culture curriculum: a curriculum of the Heart and a curriculum of the Head, both in the service of social transformation in South Africa. A third story, representing an unseen character - resistance arts, was introduced as pivotal in the Arts and Culture story. The third level of analysis dealt with abstractions from the group stories, arguing that nation building and identity formation and the potentially transformative role of the arts were central to this Arts and Culture curriculum. Discontinuities in the socio-political context and the curriculum discourse between 1997 and 2001 resulted in shifts in focalization of the curricula and may do so in the future. Current discourse allows for the creolisation of the arts and a re-imagined cultural identity.

The aim of this thesis is to explore Namibian music and dance, to gain understanding of the character of different practices and through this, to provide teachers and learners in schools with materials suitable for use in the new arts curriculum in Namibia. In order to motivate the need for indigenous cultural materials, a brief historical background to Namibian arts education is sketched, highlighting the effects of colonialism on cultural identity and the separation of music from dance in education. In gathering examples of indigenous music and dance it became clear that for these practices to retain a measure of integrity in schools, new ways of thinking about performance in schools would be required. This leads to a discussion of an approach summarised within the term ngoma, which refers to holism, communality and orality among other things. It is suggested that music/dance as ngoma has a positive contribution to make to Namibian arts education. To support this suggestion in a practical way, I explore the indigenous traditions used to educate and socialise young people. Argumentation follows regarding possibilities of preparing teaching-learning materials in a manner appropriate to Namibian circumstances. A breakdown of diverse characteristics of indigenous music and dance is done in order to help the teacher identify and comprehend the individual characters of Namibian performances. In this way teachers should be better prepared to utilise the examples of music/dance events that follow. Various events are contextualised, described, transcribed and analysed with suggestions for use in the classroom. Finally the ngoma approach, the principles of Basic Education in Namibia, and the new arts syllabi are brought together by investigating some of the possibilities of music and dance as ngoma in schools. / Thesis (Ph.D.)-University of Natal, Durban, 1997.

I am employed by the Department of Education as a Senior Education Specialist, / Thesis (M.Ed.)-University of KwaZulu-Natal, Durban, 2009.

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This study was conducted in order to investigate teachers' perceptions about the value and implementation of Arts in the Lower Primary Phase. The study adopted a qualitative approach and seeks to investigate (a) teachers' perceptions of the role and value of Arts at the Lower Primary Phase (b) the issues and problems teachers have in teaching Arts as a separate subject at the Lower Primary Phase (c) the opportunities for incorporating Arts with other subjects and with the cross-curricular issues. The data was gathered by using interviews, class observations and document analysis. The study focused on six teachers in two Schools in the Caprivi education region of the Republic of Namibia. The findings of the study revealed that Arts stimulates the learner's imagination and creativity. The teachers felt that by encouraging learners to explore their creativity through Arts we maintain the practice of the Arts through drawing, carving, modelling and music.