This qualitative research study investigates the benefits gained and developed by arts teachers after attending an Arts education programme at the Wits School of Education in South Africa. The literature review argues that both private and public benefits are elicited but highlights the vast increase in private benefits with public spillover gained from engagement in the Arts (McCarthy et al, 2004). The research also highlights the fact that good quality Arts education is vital in creating educational opportunities for the acquisition of these benefits and that teachers have certain roles and responsibilities to play in order to facilitate the transfer of these benefits. The information developed from interviews (six teachers) and journals formed the basis of the findings. These findings show how teachers benefited both personally and professionally. Privately, in positively changing their outlook on life, an acceptance of self and in the ability to reflect and professionally, in the improved level of their pedagogy in relation to relationships, assessment and teaching methodologies. The contribution of this research is to present an understanding of how benefits can affect individuals on a private level and can then have public spill-over and spiral into the public sphere.

Thesis (Ed.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Research on teaching expertise in theoretically-oriented classrooms suggests the instructional characteristics exhibited by experts, postulants, and novices. This study explores whether instruction in postsecondary, experientially-based classrooms would result in teachers exhibiting similar characteristics of instruction across the levels of teaching expertise. Several aspects of the methodology were adapted from the Clarridge study (1988). Six teachers of various levels of expertise (two experts, two postulants, and two novices) volunteered and were given one half hour to plan a lecture on a previously undisclosed topic. They were then allowed one half hour to present the lecture to culinary and pastry arts student volunteers while being videotaped by the researcher. Nine expert observers from three different perspectives (pedagogy, subject matter, and nonverbal communication) then analyzed the videotaped lectures. The findings of the study were derived from ratings by the nine expert analyses of the teaching subjects, descriptive statistics, and analysis of variance calculated using the Friedman Q-statistic test to determine inter-rater reliability. The alpha level was set at .05 for all statistical tests. The study found that expert teachers outperformed postulants and novices in their organization and comprehension of content knowledge, display of pedagogical content knowledge, and comfort level in their roles as teachers. Most significantly, the study found that postulants in experientially-oriented classrooms may exhibit and more effectively teach subject matter than novices although both groups were weak in their pedagogy and pedagogical content knowledge. Postulants also appeared more confident in their roles as teachers in experientially oriented classrooms than did the novices. The Friedman Q-statistic test concluded that the expert observers' ratings of the subjects were not significantly different from each other across the perspectives and were not significantly different from each other in their ratings of cross category items. The items rated across all six subjects were not good predictors of inter-rater reliability. The findings of this study combined with further postulant research could reveal a way to improve postulant teaching in culinary and pastry arts laboratory classrooms. In the long run it could make alternative teacher certification programs more pedagogically comparable to traditional teacher training programs, thus addressing postulant deficiencies. In addition, the study could have implications for designing other differentiated preservice and inservice training programs targeted toward various levels of teaching and subject matter expertise. / 2031-01-01

<p> This thesis explores the application of Augusto Boal&rsquo;s exercises as a basis for an Introduction to Acting class, wherein students are required to move outside of their comfort zones in order to change their perceptions of themselves and of the world around them. I will demonstrate that Boal&rsquo;s <i>Games for Actors and Non-Actors</i> effectively challenges students&rsquo; boundaries in a fun and engaging way, thereby preparing them for the task of performing. Through his techniques, students find it easier to socialize, overcome shyness, and acquire the courage that is required to act.</p><p> Chapter 1 charts my introduction to Boal and the decision to explore his exercises as a basis for a non-major acting course. By describing what I deem necessary and strive to achieve in such a class, I explain the goals that I hope to accomplish each time I teach.</p><p> Chapter 2 outlines Boal&rsquo;s philosophies and his agenda for challenging social injustice. I will focus specifically on his Theatre of the Oppressed and Forum Theatre using the notion of the &ldquo;Actor and Spect-actor&rdquo;. </p><p> Chapter 3 details my own in-class application of Boal. In each instance of interactions with students, I compare the projected outcome versus the actual results, thereby evaluating the ii exercises&rsquo; success or failure. I discuss my students&rsquo; reactions to the exercises through collected written data.</p><p> Chapter 4 reflects on using Boal&rsquo;s exercises in the future. This includes the changes I would make in the presentation and set-up of the exercises, effective adjustments, and discussing his work as being appropriate for a beginner&rsquo;s class.</p>

<p> This thesis argues the importance of mining the student's faith and strengthening the student&rsquo;s creative individuality or uniqueness in actor training. I will argue that allying the pedagogy of past master teachers Konstantin Stanislavsky and Yevgeny Vakhtangov with the development of &ldquo;faith&rdquo;, in the secular understanding of the word set forth in this paper, will aid actors in implementing a strong technique. The first chapter of this thesis focuses on the broad concepts of faith, both religious and secular, in order to establish the necessary vocabulary for my argument. The second chapter presents the theories of Konstantin Stanislavsky and Yevgeny Vakhtangov, in particular the examination of justification, crossing the threshold, and creative individuality, to advocate for faith as a powerful tool in actor training. The third chapter demonstrates how three projects completed as part of my graduate actor training at California State University Long Beach, which facilitated actor development and created opportunity for the students, reinforced my conviction that teaching faith in action and creative individuality is both useful in the training of young actors&mdash;and urgent. The conclusion of this paper argues for the design of practical curriculum that deals with acting as a spiritual vocation in theatre departments throughout the United States. </p>

<p> Artists throughout the centuries have infused art their art with their ideological outlook in order to persuade, educate or shock target audiences. Typically, these ideologies, revolve around religious and political systems. However, they can also encompass unpopular and revolting subject matter that many people choose to avoid. I embrace this tactic in my art and cast myself in the role of social critic and propagandist.</p><p> I create art with the intent to shed light on the effects of greed, because it serves as a disastrous catalyst for numerous problems within our society. These problems are addressed in my sculptures and prints by focusing on issues relating to agribusiness and the use of animals in industry.</p><p> The general public is not exposed to sufficient information regarding these negative aspects. They include the annual abuse of billions of animals for human consumption, as well as for clothing and product testing. Environmental damage caused by feedlots and pesticides should be a major concern, but is often overlooked. People need information in order to make knowledgeable decisions concerning what they eat and what they feed their children.</p><p> Therefore, by avoiding the abstract and the esoteric, and by creating visually appealing and potentially educational art, it is my intent to interest and inform my audience. This kind of easily-readable, propagandistic art can shed light on these subjects and is one step toward reform. Art holds an extraordinary power when it comes to influencing the masses and can be used as an educational tool to ignite positive social change. Like an artistic Pied Piper, this body of work is intended to lead an audience down the road to moral and culinary enlightenment.</p><p>

In the United Kingdom there is an unregulated martial arts 'industry'. The aim of this study was to examine whether this 'industry' required professionalisation through the rationalisation of qualifications for teaching, instructing or coaching practice. Currently, the martial arts consist of a very disparate set of organisations which have what, at best, could be called a varied range of professional standards across teaching, instructing and coaching. Professionalism struggles with the lassaiz-faire approach to qualifications and this creates differing expectations of the teachers, coaches and instructors within the organisations Viewpoints differ as to whether the individuals need more standards and qualifications. The study of a sample of expert views found that there is some recognition within the martial arts 'industry' that there needs a change in approach to tighten up the processes of determining who can and cannot coach, instruct or teach martial arts. Points of views expressed by the interviewees were: that standards and qualification should be demanding; that there is a need for a professional body and rationalised approach to qualifications but such general improvements must reflect the specific requirements of each particular art. Overall there was little optimism that professionalisation could be achieved. However, the desire for professionalisation was a significant finding. Recognising this, the recommendations from this study are set out in a 'Manifesto for Change' which aims to transform the current situation described by one expert as being one where 'the organisations are out for themselves and keep people separate from each other.' The essence of the manifesto concerns: the standardisation of teaching, coaching and instructing qualifications; the development of an overarching organisation to control the martial arts; recognition by other bodies outside of the martial arts of these standards.

Thesis (Ph. D.)--Columbia University, 1928. / "The Ohio state university studies. Graduate school series." "Selected bibliography": p. 82-86.

This study investigated arts education programs in the Chautauqua Movement during the late nineteenth and early twentieth centuries. The Chautauqua Movement was a nationwide phenomenon that combined education with entertainment and sought to provide educational opportunities to rural communities with public gatherings and at-home learning offerings. This study focused on Chautauqua programs from the Movement’s founding in 1874 through 1930. Arts programs, in this study, included visual arts, music, and theatre. This research centered on the examination of published historical studies, memoirs, event programs, and photographs. Arts education programs in the Chautauqua Movement included lectures and demonstrations by visual artists, musical performances featuring a variety sizes and styles, and theatrical productions ranging from dramatic readings to hit Broadway plays. It was concluded in this study that a variety of art forms were present in these Chautauqua gatherings, which provided a rich body of entertainment and education in the arts for those who attended. / text

<p>This study exploits and describes how to manage donations and send them to the affected people when natural disaster occurs. Throughout my experience in working with some organizations for collecting donations, I found out that there are many problems that harden the goods. Since affected people need the help and the goods immediately, it will take time to reach and be delivered to the people who need them. The process takes a long period of time due to the following reasons: first, the donor ships unsolicited donations and that will consequently waist time and money because no one need them. Second, there is a time gap between receiving and sorting the donations. Third, donations? spaces need to be large and flexible. Fourth, the volunteers who work in good management put massive effort in sorting donations. Fifth, more volunteers are always needed. Finally, recipients still have to sort through donated goods to make them useful. In this research project, I came up with a solution that will help in these temporary donation places. I created a system that contains of 3 parts which will work together. The first part is a website that is designed as a source for the donors to know about if a disaster takes place and what donations are needed in each specific situation. The second part is the ?GoMa? stand which will be located in temporary donation places, so after you receive and know all the information about what people exactly need, you can take the donations to these places and find the stand to help minimizing time, place, and effort. The last part of the system is the labeling that will help the donors to consistently sort across multiple events and locations. Also, it will help the senders to streamline their logistics process, and to help the recipients understand what items they have gotten and how to deploy them.

No description available.