This study is a contextual analysis and evaluation of the Arts-in-Culture curriculum at Ongwediva College of Education. Arts-in-Culture is one of the core subjects in the Basic Education Teacher Diploma (BETD)’s Broad Curriculum. At colleges such as Ongwediva, Caprivi and Rundu, student teachers study Arts as a core subject, while at Windhoek College of Education it can be studied as either a major or a core subject. In this study, I have raised some questions: Why is it that at Ongwediva College, the status of Arts-in-Culture is still low in comparison to other curriculum subjects like sciences and languages? Do student teachers and teacher educators fully understand how to assess the subject? Is the syllabus open for everyone? Is the learning environment conducive to offering the subject? Do the syllabus; learning environment, teacher educators and student teachers promote the goals of education for all? This study first gives the historical background of the subject. The background is of a diverse nature, namely African Indigenous Arts education, Black Arts education under the missionaries, Black Arts education under the South Africa Regime and Arts Education in the current Namibian reform dispensation. Second, the data collecting methodologies of this study are discussed. This includes how I collected information, who I contacted to collect this information, the tools I used to collect data, when and where I used them, why they were used and how they were used, the difficulties or problems I encountered and what I have learned about myself during the process. The third part of this study is the analysis of my findings from the participants interviewed and the fourth is how I have tried to link these different sections together. The last part of the paper is my conclusion.

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-11Bitstream added on 2014-06-13T18:49:11Z : No. of bitstreams: 1 aversa_pc_me_ia.pdf: 2783124 bytes, checksum: bb3c5df6e0c58868ac6d4d2620947688 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / A presente dissertação discute como as concepções da Arte/Educação contemporâneas podem contribuir para o campo da Reforma Psiquiátrica brasileira, partindo do referencial teórico dos chamados “filósofos da diferença” – sobretudo, de Foucault, Deleuze e Guattari (influenciados pelo pensamento nietzschiano) e do método da bricolagem (que entre outras características, permite a composição com outras perspectivas metodológicas). Pretende, desta forma, pensar as oficinas artísticas das instituições públicas de saúde mental através do olhar da Arte/ Educação contemporânea. Para refletir sobre os alcances e limites de um trabalho de arte/educação nas instituições de saúde mental, além de realizar um estudo histórico das aproximações entre loucura e suas concepções de tratamento, arte e de seu ensino a partir de uma perspectiva arqueológica, pesquisei quatro unidades de saúde mental (dois CAPSs e dois CECCOs) da cidade de São Paulo, procurando cartografar quais são os discursos e as práticas que circulam a respeito das atividades artísticas (focando nas oficinas que trabalham com as artes visuais) nas instituições citadas, entendendo que eles representam o imaginário social que cerca o trabalho que é desenvolvido nessas instituições. A partir de observações de campo e de entrevistas com profissionais e usuários destes serviços é possível afirmar que as oficinas artísticas, apesar de serem espaços de experiências muito significativas para seus participantes, não acompanharam as transformações ocorridas no universo artístico e nas metodologias de ensino da arte. De maneira geral, os coordenadores destas oficinas ainda trabalham (sem necessariamente estarem conscientes disto) com um ideário de arte ancorado... / The present work discusses how the contemporary conceptions of art/education can contribute to the field of the Brazilian Psychiatric Reform, starting from the theoretical reference of the so-called “philosophers of the difference” – specially Foucault, Deleuze and Guattari (all influenced by Nietzsche’s ideas) – and the idea of a bricolage method (which among other characteristics, allows a composition with other methodological perspectives). Intends, therefore, think the artistic workshops of public mental health through the eyes of Art / Contemporary Education. In order to reflect on the range and limits of a work on art/education in the mental health institutions, and also to make a historical study of the links between madness and its conceptions of treatment, and between art and its teaching in a archeological perspective, I researched four mental health units (two CAPSs and two CECCOs) in the city of São Paulo. I tried to map out which are the discourses and practices regarding the artistic activities (focusing on the workshops which work with visual arts) which circulate in the mentioned institutions, understanding that they represent the social imaginary which surrounds the work developed there. From the field observations and interviews with professionals and users of those services, it is possible to say that in general the artistic workshops, though they are very significant spaces of experience for its participants, do not follow the transformations occurred in the artistic universe and in the methodologies of art teaching. In general, the coordinators of those workshops still work (without necessarily being conscious of that) with an idea of art anchored in the classical representations, and making use of a art teaching methodology linked to the freeexpression of the modernists, wrongly interpreted as... (Complete abstract click electronic access below)

Thesis submitted in fulfilment of the requirements for the degree Doctor of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology / Design education has been fundamentally changed by computers and new digital technologies. New ideas and new frontiers have emerged. Available literature shows ICT has revolutionalised design education through the online studio and blended learning. In response to the growing needs of ICT in design education, new courses are being designed, while collaborations on design projects are emerging owing to virtual design studios (VDS). Researchers in design, especially in professional architecture and engineering, believe that ICTs enhance the teaching and learning of design. The adoption of ICT at the various stages of problem solving has not yet been reflected in the teaching of graphic design, especially in idea development. In developing economies, in the recent past, more attention has been paid to graphic design pedagogy, as it particularly relates to using ICT in ideation. Using the ‘multi-method’ approach, the research captured both quantitative and qualitative approaches in a pragmatic paradigm. It explored how ICT has affected the teaching and learning of ideation in graphic design in a university in a developing country. This included investigating pedagogical models and paradigms that had informed graphic design education since the incorporation of ICT. It surveyed ICT methods and the players involved in graphic design education, and documented the everyday experiences of students and educators in the lecture rooms to obtain a more holistic impression of teaching and learning. Empirical evidence suggests considerable access to computer and ICT methods by students especially. Various perceptions on the use of ICT by students in ideation activities as far as graphic design education is concerned, and how ICT is informing ideation, were also captured through the data. The study revealed activity systems of ICT integration as something that created contradictions. The contradictions were characterised by activities of collaborations and uses of ICT by students on one hand, and lecturers on the other hand. There were significant revelations of the development of the graphic design processes of using ICT in ideation. Ultimately, they were revelations of complexity of the design process for which there were no precise and fixed formulas that bring together form, function, and context conditions, and which gave credence to the orientation of pragmatism in terms of epistemology to which the study ascribed from the beginning. The study therefore elicits a review of the pedagogy of graphic design, with constructivism becoming relevant in the teaching of ideation in graphic design education.

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2016. / Student workload is measured by the time it takes to complete the learning activities. This study determines the workload of Design students by determining the time spent on in- and out-of-class learning activities of a Design course at a higher education institution in Cape Town. The Design learning process typically engages students in several of the following learning activities: problem solving; research and development of ideas; and the mastering of various skills relating to visual communication. These afore-mentioned activities span the duration of a design project crossing the boundaries between subjects. The teaching of Design occurs in various locations such as the design studio and site visits. It therefore becomes difficult to unpack the time spent on in- and out-of-class learning activities for the purposes of workload calculations as prescribed and defined by higher education institutions and educational policies worldwide. Workload is a significant variable in the curriculum and is of importance in the quality of the teaching and learning process in higher education. An analysis of the literature determined that student workload could be viewed as objective workload (notional hours), the perceived/estimated hours worked (as highlighted in student course experience surveys) or the actual hours reported over a period of time. The resulting discussions focused on the comparability of students‟ workload to the expected notional hours and grades. Thus far none of the previous studies considered time allocation or the workload of the Design student or Design education. Can it be assumed that notional hours apply to all subject fields and therefore, the time allocated to in- and out-of-class learning activities should be equal as well? A timesheet diary was used to determine the time spent on learning activities. The population consisted of Interior Design students. Participants indicated what they were doing in the class as well as the amount of time spent on learning activities outside of timetabled hours. This study determined that the time reported for text-based subjects aligned with the notional hours and timetabled hours. On the other hand, a drawing-related subject – because of project-based learning and individual crits – is allocated more timetable hours, which does not align with the notional hours. The contact time thus appears to be high in comparison to the notional hours and results in an overloaded timetable (28hrs). However, it was found that the individual average for in-class time (14hrs 54min) reported by the participants aligns with the notional hours. Further analysis of the reported time revealed that class duration should be considered in the light of the teaching methods. In addition the average workload in this study of 53hrs 7 min per week exceeds the notional 40 hours per week. The average workload was compared to the participant‟s term results, the notional 40-hours, and the 50% required for passing a subject. This revealed that participants whose workload exceeded 40 hours were likely to pass. This supports the notion that provision should be made in the curriculum to afford students the time to meet the learning outcomes. However, due to the small sample available the impact of workload on student retention and student success could not be determined.

Submitted in fulfillment of the requirements for the Master of Applied Arts in Graphic Design, Durban University of Technology, Durban, South Africa, 2017. / The context of this research is blended learning, a pedagogical approach that is effectively used in higher education. This pedagogical approach integrates face-to-face and online learning activities. The research inquiry focused on the researcher’s teaching of second-year students studying a three-year degree in graphic design at a private college in Durban, South Africa. Two interconnected teaching and learning challenges were addressed: the effects of the time-constrained, face-to-face studio style approach to design education; and students’ limited capacity for critical reflection. The research opportunity was therefore to evaluate the effectiveness of a graphic design blended learning intervention for supplementing contact time and fostering critical reflection. In the tradition of action research, the study took a developmental approach. Drawing on research on critical reflection in design and approaches to blended learning, parameters for a blended learning intervention were established. The resulting blended learning framework was applied in three interconnected cycles of action research, as follows. First, cycle one served as a baseline analysis of students’ critical reflection before the intervention. The researcher recorded and analysed a group review, and a series of individual reviews with her students. These were analysed with two questions in mind: ‘what’: “What types of reflection do students engage in?”; ‘why’: “Why are the students reflecting in a particular way?”.Second, cycle two developed, implemented and analysed a blended learning strategy for critical reflection (BLSCR). This was guided by the blended learning framework parameters, and the findings from cycle one. Third, cycle three evaluated students’ perception of the BLSCR through a focus group discussion with the participants. The focus group findings were compared with those of cycle two. The main finding is that the study’s blended learning strategy for critical reflection (BLSCR) works to foster critical reflection, but refinement is needed to address the matter of supplementing contact time. The two main points of refinement are: Students need to be ready to learn (feel psychologically responsible for their own learning);Students need to know that they have learned, and what they have learned.The findings and conclusion then motivate for implementing these refinements in further interventions beyond the study. / M

The purpose of this study is to show, through the development of the American apprenticeship, certain factors and influences that have contributed to the growth of industrial arts in the public schools of the United States. It has been made to give the prospective industrial arts teacher and student some idea of the history and the importance of their work now and in the future.

Teachers are the primary implementers of a curriculum as they need to bring the curriculum to life in the classroom. In order to optimize the success of the implementation of a specific curriculum, it is necessary to monitor the experiences of the educator in the classroom and in drawing conclusions from the data gained, make recommendations for the continued improvement of implementation. As mentioned earlier, Fullan’s reference (1991:117) to the significant effect of teachers thoughts on the implementation gave rise to the central research question, namely to determine teachers’ perceptions about the implementation of the Arts and Culture learning area at a particular school ‘Perceptions’ however, is a subjective concept and thus any form of quantitative research would appear to be inappropriate. Based on the above it was decided to approach this investigation qualitatively and so this project was done within the qualitative paradigm.

The purpose of this study is to determine whether or not the present industrial arts program adequately serves the interests, aptitudes, and needs of the students enrolled in the industrial arts courses in Denton Senior High School.

No description available.

No description available.