No description available.

This qualitative case study examined the impact of an arts integrated international collaboration on elementary school students’ creativity when the students were communicating and creating exclusively through a technological third space. Two organizations, one in the U.S. and one in Mexico, served as the sites for the case study. Five findings emerged from the study relating to the nature of creativity and two findings related to the impact on students’ creativity when engaged in arts-integrated international collaboration. The findings for the first question were: 1. Students and teaching artists view creativity as a process that is reflexive and engaging, 2. When reflecting on their work, students and teaching artists see creativity as an interplay of ideas and are open to and capable of modifying their ideas to achieve creative results, 3. Creative work is relative to the individual and is directly correlated to both originality and effort, 4. Students and teaching artists value creativity as a means for both self-expression and communication, 5. A collaborative environment sets the stage for creative behavior in terms of inviting feedback, providing constructive criticism, and sharing ideas. For the second question relating to impact, the two findings were: 1. Teaching and learning in the third space becomes a recursive process, and 2. Students work in new modes of communication in order to bridge cultures. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

University of Macau / Faculty of Education

University of Macau / Faculty of Education

No description available.

The Revised National Curriculum Statement of 2002 does not emphasize the need for Education for Sustainable Living (EFSL) in the Arts and Culture (A & C) learning area. Although the RNCS envisages a learner who respects the environment, the curriculum does not cater for the needs of the educators who are relatively new to environmental education and especially EFSL. Educators are faced with a multitude of barriers and constraints. This research attempts to identify the barriers and provide strategies and recommendations to integrate EFSL in the Arts and Culture area. The barriers were identified through a questionnaire that was given to educators in the Port Shepstone region. To make the research more valid some questionnaires were given to schools in the urban areas, in the Durban South region, since most of the schools in the Port Shepstone region are in a rural setting. The strategies and recommendations are highlighted using the researcher's personal experience in the education setting, use of literature and the researcher's encounters at the International Children's Conference on the Environment in Connecticut, USA in 2004 and the World Environmental Conference in Japan in 2005. / Further Teacher Education / M. Ed. (Environmental Education)

Thesis (M.Mus.)--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance. / AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.

The unique characteristics and needs of artistically talented students were explored. World history students at the Douglas Anderson School of the Arts were used as a test group for the utilization of a variety of art forms in teaching world history. Lesson plans using art media for each unit of study in world history were constructed. Students responded to each lesson by completing an attitude survey. The conclusion was that the use of a variety of art in world history increased student interest and motivation. The increased student motivation resulted in a failure rate of approximately 5%, significantly lower than the previous failure rate of 12%.

The Revised National Curriculum Statement of 2002 does not emphasize the need for Education for Sustainable Living (EFSL) in the Arts and Culture (A & C) learning area. Although the RNCS envisages a learner who respects the environment, the curriculum does not cater for the needs of the educators who are relatively new to environmental education and especially EFSL. Educators are faced with a multitude of barriers and constraints. This research attempts to identify the barriers and provide strategies and recommendations to integrate EFSL in the Arts and Culture area. The barriers were identified through a questionnaire that was given to educators in the Port Shepstone region. To make the research more valid some questionnaires were given to schools in the urban areas, in the Durban South region, since most of the schools in the Port Shepstone region are in a rural setting. The strategies and recommendations are highlighted using the researcher's personal experience in the education setting, use of literature and the researcher's encounters at the International Children's Conference on the Environment in Connecticut, USA in 2004 and the World Environmental Conference in Japan in 2005. / Further Teacher Education / M. Ed. (Environmental Education)

Des arts décoratifs aux arts industriels. Contribution à la genèse de l’Art Nouveau en Belgique. (1830-1893)<p><p>Thèse réalisée sous la direction de M. Michel Draguet et présentée en vue de l’obtention du titre de Docteur en Histoire de l’Art.<p><p>Bruxelles, janvier 2005.<p><p><p>Dès la fin du XVIIIe puis tout au long du XIXe siècle, le secteur décoratif connaît une mutation profonde sous l’impulsion de la Révolution industrielle. La production décorative, jusqu’alors issue d’un artisanat de longue tradition, se développe désormais également dans le registre industriel (production et diffusion à grande échelle). Cette nouvelle situation est la source d’un renouvellement important quant à la nature des disciplines décoratives, aux missions qui leur sont assignées ainsi qu’à l’organisation générale du secteur. <p>L’étude présentée sous le titre susmentionné vise à observer l’impact de ce bouleversement sur le secteur industriel belge durant le XIXe siècle, depuis la fondation du pays en 1830 jusqu’au moment d’éclosion de l’Art Nouveau en 1893, amorçant une nouvelle phase d’évolution du secteur.<p>Notre étude vise dès lors à établir une nouvelle lecture de l’évolution décorative belge de cette période. Au-delà des manifestations stylistiques, majoritairement passéistes tout au long du siècle, le secteur connaît une mutation profonde s’opérant autour de nombreuses interrogations quant à ses nouvelles orientations et ses nouveaux objectifs. La question de l’équilibre délicat entre la nouvelle nature industrielle et le caractère artistique de la production décorative en constitue le point central. Nous décelons deux phases clefs dans l’évolution de cette problématique. Dans un premier temps (durant la première moitié du XIXe siècle) deux catégories distinctes – l’une nouvelle, l’autre ancienne – cohabitent désormais au sein du seul secteur décoratif :d’une part un « art industriel » moderne aux missions sociales, d’autre part un « art décoratif » traditionnel et généralement luxueux. Si les objets produits dans les deux registres répondent communément à une destination utilitaire, leur rapport au « Beau » s’oppose. Dans un deuxième temps (durant la seconde moitié du XIXe siècle) – et suite à l’Exposition universelle de Londres de 1851 qui mettra à jour les limites de la situation développée durant la première moitié du siècle –, la majorité des acteurs du secteur ambitionneront la dissolution de cette dichotomie par la fusion de ces deux registres. L’alliance de l’art et de l’industrie constituera effectivement l’objectif principal d’une large partie du secteur décoratif belge de l’époque. Deux chantiers principaux viseront à l’accomplissement de cet objectif :d’une part, la réforme de l’enseignement décoratif et d’autre part, la création d’un musée d’arts décoratifs et industriels.<p>Ce cheminement révélera, simultanément, la nécessité d’une réforme stylistique. Celle-ci est alors conçue comme un aboutissement des deux principaux chantiers…….<p><p> / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished