This study examines the grant-making policies employed at the federal level by the National Endowment for the Arts (NEA) and at the state level by state arts agencies in regard to the federal Arts in Education (AIS) program during fiscal year 2002. The study provides an overview of the NEA's role within the context of the development of cultural policy in the U.S. that is inclusive of the evolving role of arts education policy and investigates its influence as arts education is experienced in the schools today. A consequential aspect of the study involves the examination of federal and state grant making criteria for the AIS program to determine the extent to which their funding policies reflect the generally accepted standards of broader public policy goals such as efficiency, equity, human dignity, political feasibility, and budget availability. To this end, a multigoal policy analysis was conducted to determine if in fact, the AIS program was serving the public interest and Congress and state legislatures as well as whether the federal and state arts agencies are justified in continuing funding for the AIS program. Through the use of qualitative research methods, including content analysis, the examination of the relationship between the amount of NEA funding to the national network of state arts agencies and the extent to which state funding criteria to local communities emulated the NEA's funding policies is documented. These factors in combination with the collection of quantitative data provide an overall picture of the status of the federal and state arts agencies and their ultimate impact on the communities and schools at the local level. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Summer Semester, 2003. / July 18, 2003. / Art Education, Policy Analysis, Art Programs / Includes bibliographical references. / Charles M. Dorn, Professor Directing Dissertation; David Kirby, Outside Committee Member; Sally McRorie, Committee Member; Marcia Rosal, Committee Member.

The theory and practice of cross-cultural/multicultural counseling and art/expressive therapies were reviewed in order to develop and guide the current study. The current art therapist implemented an exploratory, qualitative, ethnographic design examining art therapy with four students in an educational institution in Lima, Peru. The students had varying diagnoses (suspected Asperger's syndrome, suspected Attention Deficit Hyperactivity Disorder, Down's syndrome, and moderate to severe Mental Retardation). The current art therapist led group art therapy sessions, maintained field notes, and conducted unstructured interviews with a school teacher over the course of four months. Upon completion, the current art therapist reviewed the field notes and interviews in order to develop themes concerning strategies and insights for practicing culturally responsible therapy. Twenty-two themes emerged from the data. The current art therapist divided the themes into four major categories according to layers of cultural identity: national culture, culture of work environment, childhood culture, and individual culture. After coding, analyzing, and reflecting upon the findings, the current researcher developed a visual model of how to consider culture within the therapeutic process. The proposed Culturally Responsible Therapy model (CRT) may help therapists to conceptualize clients as having a multitude of fluid, dynamic cultural strata including (but not limited to): global culture, national culture, culture of work environment, generational/age culture, and individual culture. Conceptualizing culture as a series of evolving layers may help therapists look deeper into a client and his or her particular situation in order to practice more culturally responsible, aware, and sensitive therapy. The current art therapist hypothesized that integrating both analytical and intuitive processes within the therapist-client relationship will lead to more culturally responsible, ethical, and effective counseling. / A Thesis Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Master of Science. / Spring Semester, 2007. / March 30, 2007. / Art Therapy, Culturally Responsible Art Therapy, Cultural Counseling, Cross-Cultural Counseling, Multicultural Counseling, Expressive Therapies, International Counseling, International A0rt Therapy, Multicultural Art Therapy, Cross-Cultural Art Therapy, Art Therapy In Peru / Includes bibliographical references. / Marcia Rosal, Professor Directing Thesis; David Gussak, Outside Committee Member; Penelope Orr, Committee Member.

This study examines the role that creativity, conceptualized as divergent thinking, might play in the process of resilience. In accord with current models of resilience, subjective well-being despite exposure to adversity is conceptualized as manifestation of resilience. In this case, survivors of Hurricane Katrina who have lost their homes were asked to respond to measures of divergent thinking, perception of adversity (life events), well-being, a short personality inventory, and a demographic questionnaire. In addition qualitative exploration of participants' experiences living in New Orleans a year after the hurricane augmented understanding of coping and recovery within contextual framework. Findings suggest the specific traits linked with creativity such as originality, flexibility, and extroversion help predict emotional resilience after natural disaster. Specifically, originality was found to be a significant predictor for extroversion, which was a significant predictor of life satisfaction and the well-being composite in this study. Also, both Flexibility and originality were significant predictors of both clinical stress and life satisfaction for the African American population in this study but not for the Caucasian population; Similarly, originality and flexibility were significantly correlated to well-being measures under greater income disparity and not for participants reporting lower income disparity. These findings suggest that flexibility and originality are moderated by SES, culture and social structure and their effects might be masked under condition of social privilege and prevalence of resources. The importance of flexibility and original thinking was highlighted in interviews with participants of middle and higher SES of Caucasian background, providing further support for this conclusion. A discussion of findings attempts to integrate theories of creativity and resilience in light of the study results. / A Dissertation Submitted to the Department of Art Education in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. / Fall Semester, 2007. / October 12, 2007. / Natural Disaster, Resilience Resiliency, Creativity, Divergent Thinking, Hurricane Katrina / Includes bibliographical references. / David Gussak, Professor Directing Dissertation; Robert E. Lee, Outside Committee Member; Marcia Rosal, Committee Member; Penelope Orr, Committee Member.

This study explored how three contemporary Korean "border-crossing" artists who live and work in New York City have conceptualized and constructed their artistic, personal, and social identities through their artwork. Do-Ho Suh, Kimsooja, and Ik-Joong Kang were studied using Anderson's (1993; 1995; 1997; Anderson & Milbrandt, 2005) cross-cultural method of contextual art criticism, incorporating document analysis and one-on-one interviews. The primary research question was, How do artists, originally from South Korea but now living in New York City, define themselves and their art in relation to their artistic, personal, and social identities? In addition, questions were explored concerning the impact of the dominant Western art community and the international art community in New York City on the creation of art and identity among these border-crossing artists. Do-Ho Suh's Paratrooper series was found to illuminate the interdependence of personal identity with national, cultural, and social identity and explore issues of individuality and group consciousness, displacement and transience, and social pressure. Kimsooja's Cities on the Move- 2727 Kilometers Bottari Truck and the A Needle Woman series was seen as depicting memories and experiences from her own family life and Korean culture in interaction with multicultural communities and human life. Finally, Ik-Joong Kang's 8490 Days of Memory was found to represent the intersection of Korean national history and diplomacy with his own childhood memories, and his Amazed World to portray the essential unity underlying the global multicultural context. Each of the six selected artworks was found to be both a self-portrait and group portrait, signifying the human condition in contemporary society. Further, the artworks depict themes from Eastern philosophy and Western existentialism that simultaneously reflect the artists' original Korean culture, American multicultural ideology, and the personal challenge of "border-crossing" in the international art world. The results of this study can inform educational art criticism and instruction for audiences and art students in Korea, the U.S., and internationally, facilitating a sympathetic dialogue that promotes mutual understanding. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2006. / February 15, 2006. / Art Criticism, Art History, Art Education, Multiculturalism, Contemporary Art, Korean Art, Diasporic Artists, Identity / Includes bibliographical references. / Tom Anderson, Professor Directing Dissertation; Susan Wood, Outside Committee Member; Pat Villeneuve, Committee Member; Susan Lee, Committee Member.

In recent decades, rapid globalization has led to an upsurge of interest in global health initiatives. Mental health in particular has received increased focused, as research demonstrates that nearly 14% of the global burden of disease can be attributed to psychological disorders (Macfarlane, Jacobs & Kaaya, 2008). Art therapists are among the increasing number of healthcare professionals traveling to address these needs. However, despite the growing presence of U.S.-trained therapists visiting other countries, clear ethical guidelines for working in these settings are lacking. This absence of parameters creates an ethical dilemma for the field of art therapy: those who lack the skills and resources to provide culturally appropriate treatment in a global context risk negatively affecting the well-being of the populations they serve. The purpose of this study was to develop an initial set of ethical guidelines to inform the practice of art therapists that work and volunteer in economically-challenged countries and regions (ECCs). Art therapists who work abroad and publish on cross-cultural issues were interviewed to develop insight into the experiences of art therapists working in these settings. A survey was then developed and distributed via social media in order to assess the considerations that art therapists should make to offer ethically and culturally appropriate interventions to ECC populations. Thematic analysis and descriptive statistics were utilized to uncover important themes in data, and to create a list of 20 guidelines to inform the work of art therapists in ECC settings. / A Thesis submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Master of Science. / Summer Semester, 2014. / July 1, 2014. / Art Therapy, Developing Countries, Economically-Challenged, Global Health, International Health, Mental Health / Includes bibliographical references. / Marcia Rosal, Professor Directing Thesis; David Gussak, Committee Member; Antonio Cuyler, Committee Member.

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published_or_final_version / abstract / Fine Arts / Master / Master of Philosophy