This work aims to explore the phenomenon of play in detail and classify its relationship to artistic activity and education. As its starting point it uses the paradigm of general and developmental psychology with an emphasis on the formal and functional definition of the term play. This theoretical background will then be widened by- and confronted with the viewpoint of the depth psychology. The theories of the depth psychology will explain the connotations between the play, personality, imagination, and creativity more in depth. The main sources of this work will then be the works of the main representatives of the object relations theory. Due to their focus on early personality development they will help with uncovering where, when and which phenomena connected to artistic activity take place and their influence on human mentality. In this work's conclusion, based on the theories of the general and depth psychology, the foundations for didactic strategies of art education and art psychologists will be proposed, which arise from these theories. These foundations will, finally, be confronted with specialist literature about current approaches to arts education.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-11-22T12:08:12Z No. of bitstreams: 1 NELISA TÂNIA COE DE OLIVEIRA.pdf: 3396977 bytes, checksum: a8019c9c4a5db8c8d1c91943b2e3bc66 (MD5) / Made available in DSpace on 2016-11-22T12:08:12Z (GMT). No. of bitstreams: 1 NELISA TÂNIA COE DE OLIVEIRA.pdf: 3396977 bytes, checksum: a8019c9c4a5db8c8d1c91943b2e3bc66 (MD5) Previous issue date: 2016-08-26 / This research has as object the color concept and it is anchored in the historical-cultural theory and the theory of developmental education. The issue is directed to the following questions: What does the teacher who teaches Arts for students of the 7th grade of the elementary school on the formation of the concept? As this teacher teaches the color concept? He adopts a theoretical-pedagogical reference? The research had as general objective: investigate how art teachers think and act with the color concept. The following specific objectives have been defined: analyzed the understanding that art teachers of the 7th year of the cycle III have about concept; identify which color concept they express; analyze how teachers organize their actions in the teaching learning process; identify the factors of school context that influence in the teaching and learning of students. To investigate the problem were realized two steps. Bibliographical research and field research. The bibliographical research covered the period from 2004 to 2014, with a focus on color concept formation. The field research was conducted in three schools of the network municipal of teaching in Goiânia. The data collection included interviews with the subject and comments from art classes. In the analysis of the data was adopted the guidelines of Bogdan & Biklen (1994) for categorizing and systematizing of data outlining the following categories: education for the formation of concepts-the teaching of concept of color; the formation of concepts and the color concept, understanding of teachers; pedagogical theoretical conception of teachers; the factors that influence the teaching and learning of art. The results show that there is a preponderance of progressive trends in art education; the space factor causes tension and inhibits artistic activities; there is need for academic production of new textbooks that bring update on knowledge of the color concept and the need for making new teaching materials and school paints in the colors magenta and cyan. / Esta pesquisa tem como objeto o conceito Cor e está baseada na teoria histórico-cultural e na teoria do ensino desenvolvimental. Quanto ao problema investigado, este foi direcionado para as seguintes indagações: O que pensa o professor que ensina artes para alunos do 7º ano do Ensino Fundamental sobre a formação do conceito Cor? Como esse professor ensina o conceito Cor? Ele adota uma referência teórico-pedagógica? A pesquisa teve como objetivo geral: investigar como os professores de arte pensam e atuam com o conceito cor. Foram definidos os seguintes objetivos específicos: analisar o entendimento que professores de Arte do 7º ano do Ciclo III têm sobre conceito; identificar que conceito Cor eles expressam; analisar a forma como os professores organizam suas ações no processo de ensinoaprendizagem; identificar os fatores do contexto escolar que influenciam no ensino e aprendizagem dos alunos. Para investigar o problema foram realizadas duas etapas. Pesquisa bibliográfica e a pesquisa de campo. A pesquisa bibliográfica abrangeu o período de 2004 a 2014, com foco na formação do conceito Cor. A pesquisa de campo foi realizada em três escolas rede municipal de ensino de Goiânia. A coleta de dados incluiu entrevistas com os sujeitos e observações das aulas de Arte. Na análise dos dados, foram adotadas as orientações de Bogdan e Biklen (1994) para a categorização e sistematização dos dados, delineando-se às seguintes categorias: o ensino para a formação de conceitos - o ensino da conceituação de cor; a formação de conceitos e o conceito Cor, entendimento dos professores; a concepção teórica pedagógica dos professores; os fatores que influenciam no ensino e aprendizagem da Arte. Os resultados obtidos revelam que existe a preponderância da tendência progressista no ensino da Arte; o fator espaço acarreta tensão e inibe atividades artísticas; há necessidade de produção acadêmica e de novos livros didáticos que tragam a atualização no conhecimento do conceito Cor e a necessidade da fabricação de novos materiais didáticos como tintas escolares nas cores magenta e ciano.

Esta pesquisa discute as relações entre o processo ensino-aprendizagem artesanal da cerâmica e a formação inicial de professores de arte, com base em contribuições advindas da perspectiva reflexiva na formação docente, entre as quais, a epistemologia da prática baseada na reflexão-na-ação, de Schön, a proposta de reflexão coletiva em comunidades de aprendizagem, de Zeichner, e a idéia de prática educativa como processo hipotético e experimental, de Stenhouse. Foram investigados os modos de produção e transmissão de conhecimentos de Isabel Mendes da Cunha e Shoko Suzuki, artistas ceramistas vinculadas, cada qual, a um universo tradicional, com enfoque nos valores e elementos metodológicos do processo ensino-aprendizagem por elas conduzido; no papel exercido pelos meios físico, social e cultural em suas produções; na relação que estabelecem com a educação formal e na preservação e renovação de técnicas, materiais, procedimentos e padrões estéticos ao longo de gerações. A aprendizagem artesanal envolve princípios e valores éticos e humanos que ultrapassam não somente a produção em larga escala da sociedade industrial, mas também a reiteração de técnicas e procedimentos didáticos e artísticos ainda muito observados nas propostas de ensino-aprendizagem da arte desenvolvidas no espaço escolar, revelando elementos fundamentais para o reencontro da dimensão humana da arte-educação. Permeada pelo fazer conjunto e o diálogo, a condução da aprendizagem de um ofício tradicional por um mestre-artesão é capaz de desencadear a práxis criadora nos aprendizes, que, além de sentirem satisfação com o trabalho, também passam a desenvolver um processo produtivo próprio, em que a experimentação dirigida à busca de novas possibilidades construtivas e ao encontro de um caminho poético particular convive harmoniosamente com a preservação de saberes fundamentais transmitidos de geração a geração. Com o desenvolvimento de um processo formativo teórico-prático com alunos do curso de licenciatura em artes visuais de uma instituição particular de ensino superior do município de São Paulo, foram investigadas as possibilidades da parte da formação destinada à prática, especialmente, a prática de ensino e o estágio supervisionado, contribuir para a instauração da práxis criadora de futuros professores de arte. O processo voltou-se para a ampliação da consciência do papel social, capacidade criadora e grau de comprometimento do futuro professor com as obras da arte e da educação, incluindo elementos observados no universo da aprendizagem artesanal, em especial o diálogo, a experimentação e o fazer conjunto, aos quais se acrescentou um outro elemento, qual seja a pesquisa-ação, impulsionada pelas características e necessidades apresentadas por alunos de ensino fundamental e médio de uma escola pública estadual. / The present research analyses the relations between the teachinglearning process of hand-made ceramics and the initial development of art teachers, based on the contributions derived from the reflective perpspective in teacher\'s development, such as the epistemology of practice based on reflectionin-action, by Schön, collective reflection in learning communities, by Zeichner, and the idea of educative practice as an experimental and hypothetical process, by Stenhouse. Two ceramic artists, namely Isabel Mendes da Cunha and Shoko Suzuki, had their production mode as well as knowledge transmission investigated, bearing in mind that both artists, each one connected to a specific traditional universe, focus on methodological values and components of the teaching-learning process they are in charge of. Such artists are also concerned not only with the role of the physical, social and cultural environment in their productions but also with the relations established between the latter and formal education as well as the preservation and renovation of techniques, materials, procedures and aesthetic patterns along generations. Knowledge derived from the building of hand-made artifacts encompasses ethical and humanistic principles and values that transcend not only large scale production, typical of the industrial society, but also the reiteration of techniques as well as didatic and artistic procedures, still present in the art teaching-learning proposals developed within the school environment, thus revealing essential elements in the finding of the humanistic dimension underlying art-education. Permeated by team production and dialogue, the direction of traditional workmanship learning processes by a master artisan is capable of unleashing creative praxis in the aprentices who, added to a job satisfaction feeling, will also develop productive procedures of their own. In such processes, experimentation, directed both at seeking new constructive possibilities and encountering an individual poetical path, cohabit harmoniously with the preservation of essential knowledges passed on from one generation to another. Bearing in mind the development of a theoretical and practical formative process involving students of the visual art teachers\' course from a private university institution in the city of São Paulo, the possibillities of the formative components of the course directed at practice - namely the teaching practice as well as the supervisioned probation period - were investigated to confirm whether they might contribute to the establishment of a creative praxis among prospective art teachers. The process aimed at conscience raising as regards the social role, creative competence and the involvement of future teachers in relation to works of art and education, including components observed in the hand-made learning environment, such as dialogue, experimentation, team work and artistic practice. Impelled by the features and needs presented by elementary as well as high school students from a government run school, an additional ingredient was added to the process, namely action research.

Esta pesquisa discute as relações entre o processo ensino-aprendizagem artesanal da cerâmica e a formação inicial de professores de arte, com base em contribuições advindas da perspectiva reflexiva na formação docente, entre as quais, a epistemologia da prática baseada na reflexão-na-ação, de Schön, a proposta de reflexão coletiva em comunidades de aprendizagem, de Zeichner, e a idéia de prática educativa como processo hipotético e experimental, de Stenhouse. Foram investigados os modos de produção e transmissão de conhecimentos de Isabel Mendes da Cunha e Shoko Suzuki, artistas ceramistas vinculadas, cada qual, a um universo tradicional, com enfoque nos valores e elementos metodológicos do processo ensino-aprendizagem por elas conduzido; no papel exercido pelos meios físico, social e cultural em suas produções; na relação que estabelecem com a educação formal e na preservação e renovação de técnicas, materiais, procedimentos e padrões estéticos ao longo de gerações. A aprendizagem artesanal envolve princípios e valores éticos e humanos que ultrapassam não somente a produção em larga escala da sociedade industrial, mas também a reiteração de técnicas e procedimentos didáticos e artísticos ainda muito observados nas propostas de ensino-aprendizagem da arte desenvolvidas no espaço escolar, revelando elementos fundamentais para o reencontro da dimensão humana da arte-educação. Permeada pelo fazer conjunto e o diálogo, a condução da aprendizagem de um ofício tradicional por um mestre-artesão é capaz de desencadear a práxis criadora nos aprendizes, que, além de sentirem satisfação com o trabalho, também passam a desenvolver um processo produtivo próprio, em que a experimentação dirigida à busca de novas possibilidades construtivas e ao encontro de um caminho poético particular convive harmoniosamente com a preservação de saberes fundamentais transmitidos de geração a geração. Com o desenvolvimento de um processo formativo teórico-prático com alunos do curso de licenciatura em artes visuais de uma instituição particular de ensino superior do município de São Paulo, foram investigadas as possibilidades da parte da formação destinada à prática, especialmente, a prática de ensino e o estágio supervisionado, contribuir para a instauração da práxis criadora de futuros professores de arte. O processo voltou-se para a ampliação da consciência do papel social, capacidade criadora e grau de comprometimento do futuro professor com as obras da arte e da educação, incluindo elementos observados no universo da aprendizagem artesanal, em especial o diálogo, a experimentação e o fazer conjunto, aos quais se acrescentou um outro elemento, qual seja a pesquisa-ação, impulsionada pelas características e necessidades apresentadas por alunos de ensino fundamental e médio de uma escola pública estadual. / The present research analyses the relations between the teachinglearning process of hand-made ceramics and the initial development of art teachers, based on the contributions derived from the reflective perpspective in teacher\'s development, such as the epistemology of practice based on reflectionin-action, by Schön, collective reflection in learning communities, by Zeichner, and the idea of educative practice as an experimental and hypothetical process, by Stenhouse. Two ceramic artists, namely Isabel Mendes da Cunha and Shoko Suzuki, had their production mode as well as knowledge transmission investigated, bearing in mind that both artists, each one connected to a specific traditional universe, focus on methodological values and components of the teaching-learning process they are in charge of. Such artists are also concerned not only with the role of the physical, social and cultural environment in their productions but also with the relations established between the latter and formal education as well as the preservation and renovation of techniques, materials, procedures and aesthetic patterns along generations. Knowledge derived from the building of hand-made artifacts encompasses ethical and humanistic principles and values that transcend not only large scale production, typical of the industrial society, but also the reiteration of techniques as well as didatic and artistic procedures, still present in the art teaching-learning proposals developed within the school environment, thus revealing essential elements in the finding of the humanistic dimension underlying art-education. Permeated by team production and dialogue, the direction of traditional workmanship learning processes by a master artisan is capable of unleashing creative praxis in the aprentices who, added to a job satisfaction feeling, will also develop productive procedures of their own. In such processes, experimentation, directed both at seeking new constructive possibilities and encountering an individual poetical path, cohabit harmoniously with the preservation of essential knowledges passed on from one generation to another. Bearing in mind the development of a theoretical and practical formative process involving students of the visual art teachers\' course from a private university institution in the city of São Paulo, the possibillities of the formative components of the course directed at practice - namely the teaching practice as well as the supervisioned probation period - were investigated to confirm whether they might contribute to the establishment of a creative praxis among prospective art teachers. The process aimed at conscience raising as regards the social role, creative competence and the involvement of future teachers in relation to works of art and education, including components observed in the hand-made learning environment, such as dialogue, experimentation, team work and artistic practice. Impelled by the features and needs presented by elementary as well as high school students from a government run school, an additional ingredient was added to the process, namely action research.

The purpose of this quantitative study was to determine the perceptions of Northeast Tennessee Educators regarding arts integration. Specifically this study was an examination of the perceptions of district and K-8 school level administrators, K-8 general classroom teachers of math, science, social studies, or literacy, and K-8 arts specialists of dance, drama, music, or visual arts. Nine school districts in Northeast Tennessee agreed to participate in the study. Data were collected through an online survey system, SurveyMonkey.com. Data from 179 participants were used in the study. Seventeen items from the survey were measured on a 5-point Likert scale. Those items included: perceived need, claims of implementation, responsibility of implementation, comfort level for implementation, and the perceived possession of adequate resources and reported professional development for arts integration practices. The results concluded K-8 arts specialists' perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation were significantly higher than K-8 general education teachers. Additionally, individuals with previous arts experience in high school or college had a significantly higher perceived comfort level for arts integration implementation that individuals with no previous arts experience in high school or college. However, there were no significant differences in perceived need for arts integration, claims of arts integration implementation, and perceived comfort level for arts integration implementation between district and school level administrators and K-8 general education teachers, and between district and school level administrators and K-8 arts specialists. Subsequently, there were no significant differences among district and school level administrators, K-8 general education teachers, and K-8 arts specialists in regards to perceived responsibility for arts integration implementation, perceived possession of adequate resources for arts integration, and reported offerings of professional development for arts integration.

Abstract As college populations are becoming increasingly diverse, institutions must find ways to meet the needs of their nontraditional students. Nontraditional adult learners are self-directed, ready to learn, and are internally motivated to engage in problem-centered learning. The purpose of this study was to expand and refine an active learning seminar in a higher education setting to improve the quality of teaching, student engagement, and retention rates. The site of the study was a Historically Black College and University (HBCU) in which adult students over 25 constituted 49% of the population. The faculty members at this site predominantly employed traditional instructional methods. Action research was used to explore 6 faculty members' perceptions of active learning approaches before and after they attended an active learning seminar. Before and after the seminar, observations of student engagement, using the Direct Observation Instructional Management (DOIM) checklist, were conducted. Interviews with the faculty members explored their perceptions and needs regarding use of active learning strategies. Interview data were analyzed thematically and pre and post themes were compared. On the DOIM, student engagement was observed to increase in 2 classes. Results, including strategies that increased engagement, were integrated into a seminar that can be implemented at the same HBCU. Social change implications are that faculty members may begin to use techniques that will more effectively engage adult learners, leading to greater retention of knowledge and a likely increase in the graduation rate of students.

Doctor of Philosophy / This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

Since the Grade 1-9 Curriculum Reform took place in 2001, performing arts curriculum at compulsory education schools of Kaohsiung had faced several difficulties in practice. At the same time, marketing of the performing arts organizations also dropped down due to economic recession. In order to solve the dilemmas of both sides, the researcher thought that a partnership between compulsory schools and performing arts groups is a worthy strategy to try. Two concepts, art education partnership and co-teaching, were used to build up a theoretical framework. It is shown that a successful partnership between a school and a performing arts organization is influenced by many factors. These factors were taken to analyze the cooperative condition happened between the compulsory education schools and the arts organizations at Kaohsiung. Meanwhile, two schools, Kaohsiung Municipal Jiachang Primary School and Kaohsiung Municipal Youchang Junior High School, were chosen as the target cases of this study after a consulting conversation with the Compulsory Education Advisory Group of the Kaohsiung Municipal Department of Education(CEAGK). Members including the school administrative personnel, school teachers, parents and students of both schools were interviewed by selective ways. Taiwan Bangzi Company and the Bean Theatre also contribute their experiences to this study. In addition, observation and document analysis were also used as methods to collect data. Major conclusions are as the following: 1. Full time teachers and appropriate teaching materials are desperately demanded for compulsory education schools at Kaohsiung , unfortunately, even hired teachers has faced job crises at this time. 2. Performing arts groups are aware of the importance to cooperate with schools. 3. Knowing the difficult condition of the performing arts curriculum at school education, the CEAGK adapted strategies to assist teachers improve their skills and employ resources outside schools. 4. ¡§Personal contact¡¨ is a common way to find a partner. No contract was made, but agendas were the only documents for the cooperation. The interview results also reveal that schools need to improve their ways in deliberating the information upon performing arts education partnership. Although to work with schools in educational project is usually the goal for arts organizations, most activities were designed under the ideology of audience development or marketing the coming performance. 5. Both the schools and the performing arts groups respond that ¡§funding¡¨ and ¡§human resource¡¨ are key issues to conquer in dealing with ¡§performing arts education partnership (PAEP).¡¨ 6. PAEP at Kaohsiung is still on the ¡§Exposure Stage¡¨, co-teaching model by an artist and a teacher is still rarely seen. No one has ever attended workshops for the PAEP. 7. Evaluation on the effectiveness of PAEP is still lacked. 8. The PAEP at Kaohsiung was influenced by many factors including policy, funding, key persons, time and the project quality. PAEP should be followed by certain ¡§educational goal.¡¨ At the time of this study, the CEAGK and the performing arts organizations have asynchronous opinions towards the PAEP.

No description available.

In many ways, traditional arts in schools bear the bruises of the early years of multicultural education, and the failed practices that created what has been termed a tourist curriculum, comprised of the superficial study of folktales, festivals, foods, and facts. Consequently, the use of art forms of cultures is often approached with caution by teachers, or avoided altogether. This thesis re-frames the use of traditional arts in the classroom through current research and knowledge, defining their efficacy and role in today’s classroom. Traditional arts are examined through the lenses of arts integration, culturally responsive pedagogical practice and creative processes. A qualitative, research portraiture methodology was employed, and executed through the lens of four case studies in order to more coherently incorporate the arts-based nature of this research. The research sites include classes studying Maori visual arts, waiata (song), and haka (dance) in Christchurch, New Zealand, chant, hula, and plant weaving at an Hawaiian charter school, and social dance and song of the Oneida tribe in the US. Research results indicated that when teachers facilitate experiences in traditional arts in such a way that students are exposed to entry points for their own interaction with the forms, students respond with self reflection, engagement, and a tendency to elevate the status of affiliation with the culture undertaken. While students and teachers do not become conversant in the culture as a result of such study, working with traditional arts in this way may serve to break down culturally bound ways of seeing the world. When traditional arts are employed in classrooms, they may engage students in a creative process that takes the form of embodied or physicalized, interpretive, or improvisational interactions with the forms. When traditional arts are employed in this way, relying on creative process, they also meet goals for culturally responsive learning, legitimizing how students experience and make sense of the world. Traditional arts provide a critical, under-utilized, strategy for embedding culture in the educational setting. In order to best meet the goals of the learning setting, traditional arts must incorporate creative processes. Hybridization of the forms, while increasing accessibility for teachers and students, must be carefully undertaken. Traditional arts utilized in this way hold potential for addressing broader curricular content.