This work centered on the Creating Creators Cinema Project (CCCP), a for-profit organization that works with K-12 school districts in California to integrate student filmmaking into core subjects. The qualitative case study documented the experiences of CCCP’s founders, the teaching artists who mentor filmmaking youth, and the students participating in year-long projects, providing a “thick description” of the creation, implementation, and impact of the program in a high school setting. The research addressed the dearth of arts programs in urban schools and their connection to representation in arts fields, particularly filmmaking. The study utilized three frameworks: Critical Pedagogy, Constructivism, and Situated Learning Theory to analyze data about pedagogical approaches and impact in the personal and professional lives of those involved in the project. Findings revealed participants in CCCP challenge traditional schooling practices and create a professional identity for students in the program. This study affirmed the importance of arts education in student lives and identifies how arts is a transformative vehicle for students and educators.

The purpose of this study was to find out from Virginia policymakers their feelings toward visual arts education as a required subject at the high school level by answering the following questions: (1) How do policymakers and gatekeepers see the value of visual arts education as a required subject on the high school level? (2) What is the attitude of Virginia policymakers and gatekeepers towards the importance of issues pertaining to the framing of a visual arts education program? (3) What is the importance of placing visual arts education in the high school curriculum as a required subject for the appreciation and understanding of our society? (4) Of what importance do policymakers and gatekeepers feel visual arts education is in the curricula of high school students as far as their academic, social, cultural, and personal development are concerned? A pilot study was conducted in which 17 issues important to visual arts education were addressed. Data for the main study was collected by means of a questionnaire in which a selected panel of supervisors of instruction, assistant superintendents, local school board members, and school system superintendents were surveyed. The study, consisting of a three part questionnaire, was conducted by mail over several weeks with a group of 70 local policymakers and gatekeepers. Findings of this study indicate that about half (54%) of the policymakers surveyed believe that it is very important (16%) and important (38%) to offer visual arts education as a required subject on the high school level. Eighty - six percent feel that standards should be formulated and used in developing a visual arts education framework. Seventy - six percent of the respondents felt that visual arts education is important for the appreciation and understanding of our society. Seventy - one percent of the policymakers surveyed agreed that visual arts education is important for the academic, social, cultural and personal development of high school students. It is quite evident that there is a division among policymakers and gatekeepers regarding the value of visual arts education as a required subject on the high school level. / Ed. D.

The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)

The purpose of this study is to determine the public image of industrial arts education in Dallas, Texas. Information sought is obtained from interview schedules using random sampling techniques. The results of the study indicate that the public is not generally informed about industrial arts education. It is recommended that the public be informed as to the difference between industrial arts and vocational education. It is also recommended that more girls be introduced to industrial arts. It is further recommended that the world of construction and world of manufacturing be expanded.

Dans une situation d’important développement économique porté par les efforts de plusieurs générations au cours des années qui ont suivi la politique de la réforme et de l’ouverture en Chine, l’éducation esthétique s’inscrit à nouveau dans la politique éducative chinoise, après avoir été supprimée par Mao en 1958. De ce fait, l’éducation artistique, que la conception chinoise distingue de l’éducation artistique proprement dite, a connu également un développement d’ampleur. De nos jours, l’éducation artistique retient de plus en plus l’attention du gouvernement chinois, en raison de ses effets dans le processus de l’édificationet de la modernisation socialiste, ainsi que dans le renforcement de l’influence de la Chine dans le monde. A travers les analyses des politiques éducatives et des textes officiels, notre recherche consiste à dégager les rôles et les fonctions de l’éducation artistique dans la Chine contemporaine et à chercher à comprendre les raisons pour lesquelles le gouvernementchinois met l’accent sur ce type d’éducation. Ce travail nous conduit à dégager et à analyser les principaux facteurs qui influencent et expliquent son développement en Chine. / In a situation of important economic development carried by the efforts of several generations during the years which followed the reform policy and the opening in China, the esthetic education joins again in the Chinese education policy, having been eliminated by Mao in 1958. Therefore, the arts education, which the Chinese conception distinguishes from the esthetic education itself, also knew a development of scale. Nowadays, the arts education holds more and more the attention of the Chinese government, because of its effects in the process of the construction and the socialist modernization, as well as in the strengthening of the influence of China in the world. Through the analyses of education policies and official texts, our search consists in clearing the roles and the functions of the arts education in contemporary China and in trying to understand reasons why the Chinese government puts the accent on this educational type. This work leads us to clear and to analyze the main factors which influence and explain its development in China.

The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)

Music Education as part of the learning area Arts and Culture is far from satisfactory in South African schools. Reasons for this include a highly sophisticated and complex curriculum (the revised National Curriculum Statement, 2002); the integration of four discrete arts forms into one learning area; and teacher training which is not always reflective of the teaching profession’s demands. The study was based on a mixed method design, investigating how teachers in best scenario schools implement music as part of the integrated learning area Arts and Culture. Interviews were held with various stakeholders in Music Education, including teachers currently involved with the presentation of the Arts and Culture learning area, lecturers at universities training students for Music Education, and policy makers such as subject advisors in the Arts and Culture learning area. Data was also collected by analysing commercially available resources for this learning area. Analysis of the data obtained revealed that few teachers in the Arts and Culture learning area are qualified in more than one art form. A major concern is that music is often omitted from regular classroom activities in the Foundation Phase due to teachers feeling pressurised by multiple assessment standards in learning areas such as Literacy and Numeracy. Another finding in all primary school phases was that the time spent on Music Education was far less than that spent on Visual Arts. Learners are often involved in projects collecting knowledge about music, but seldom involved in active music making experiences. Aspects such as different ways to integrate the arts into one learning area, generalist/specialist teacher training, as well as issues concerning product, process and performance during the delivery of the arts, were also investigated. The researcher drew from all the data to design a course for teacher training in Music Education as part of the learning area Arts and Culture. Recommendations include regular in-service teacher training courses; nationwide co-ordination of teacher training programmes and the establishment of a national council for Music Education. An urgent need for appropriate lesson material in Arts and Culture was also identified, including CDs with songs and backtracks. / Thesis (DMus)--University of Pretoria, 2009. / Music / unrestricted

This study aims to explore how today's digitalization looks in art specific educational research, bylooking at how teaching and teachers act towards digital techniques and tools to developstudents’ knowledge and abilities in arts education. The overview is constructed by a systematicsearch on two different databases. The presentation of the articles is done through three thematicdivisions: (i)The effects of teachers' view on digitalisations’ role in arts education, (ii)Teachers design of digitalarts educationand (iii)Students learning in relation to design of digital arts education. After thethematization of the eight articles a discussion is made in relation to the chosen problem area andtwo related questions “What kind of impact does teachers' attitudes on technology have onteaching?” and “How can different ways of working with technology change how students evolvetheir skills and competence?” have been asked. The results show that there are two main viewson digitalisation’s role in education, the ones that are against it and are for the traditional ways ofthe art subject and the teachers who are for the use of digital tools and can see the knowledgethat students develop

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In 2012, the Austin Independent School District implemented a ten-year Creative Learning Initiative to develop every school in the district into an arts rich school. However, research on arts richness presents varied descriptions of what an arts rich school looks like and lacks student voices. This MFA Thesis documents an applied project utilizing an arts based research process to explore student beliefs about the value of the arts and arts richness at the middle school level. In the document, I analyze student beliefs about the value of the arts through modified grounded theory from a data set including a performance, a playscript, group discussions, surveys, and my personal field notes and reflections. I find that the students share a similar understanding with published research of overall categories describing arts richness, including quantity of arts opportunities, quality of artistic and educational programs, and school climate. They deepen the perspective researchers present on school climate in arts rich schools, offering specific ways in which the arts invite a positive school climate. I conclude the document with reflections on defining arts richness, the arts based research process, and areas for further consideration as schools move toward creative learning for the 21st century. / text