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Call number: LD2668 .T4 1928 F71

Thesis (PhD)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This artistic research dissertation employs the principles and practices of contact improvisation in a literary performative to describe and demonstrate this somatic form’s potential as a complex system of embodied knowing. For strategic and thematic purposes, chapters in this dissertation are referred to as Streams. The First Stream motivates the methodological approaches and emergent strategies employed in the researcher’s simultaneous practices of teaching, researching and writing about contact improvisation. The Second Stream is offered as an oral testimony of the researcher’s attempt to find practical solutions for the increasing complexity apparent in her work environment during the last two decades. It is written primarily as a first-person narrative with references by other somatic and contact improvisation practitioners embedded in the body of the narrative and presented as personal subconscious/collective unconscious interjections. The Third Stream uses a locally-emergent artistic research strategy termed Secondary Primacy to critically and creatively engage with existing literature. The observations of theorists and practitioners from the researcher’s own context (theatre and drama), as well as from a diversity of interrelated disciplines (including psychology, sociology, evolutionary biology, quantum physics, pedagogy and visual art) are presented in an autonomous authorial voice employing the performative strategy of what if. This strategy serves to demonstrate the researcher’s experience of the link between personal subconscious and collective unconscious motivations for action and exposes the transdisciplinary ground upon which many of the ideas and observations voiced in other Streams, in particular about contact improvisation as a complex system of embodied knowing, are implicitly dependent. The Fourth Stream discusses contact improvisation as a complex system foregrounding the particular characteristics of nonlinearity, paradox, emergence and additional capacity introduced in the Second and Third Streams. The Fifth Stream demonstrates convergences and overlaps between contemporary theories about agency, embodiment and transformation as they may apply to educators in tertiary educational performing arts contexts. This discussion is interspersed with accounts of the researcher’s own attempts – through her performing arts educational practice - to understand agency and transformation as workable elements. The Sixth Stream is offered as a personal philosophy of action. The implicit values and strategies of the researcher that were exposed in previous Streams are here distilled and presented as affirmations and Actions motivating the sustained use, by the researcher within her localized educational context, of contact improvisation as a foundational somatic approach for performers. In keeping with the positioning of this dissertation as artistic research, the literary framing devices of a Foreword and Afterword are used to draw a reader’s attention to the practicebased nature of the subject under discussion. / AFRIKAANSE OPSOMMING: Hierdie artistieke navorsingsverhandeling gebruik die beginsels en praktyke van kontakimprovisasie in ‘n literêre performatief om hierdie somatiese vorm se potensiaal as ‘n komplekse sisteem van verpersoonlikte kundigheid te beskryf en te demonstreer. Vir strategiese en tematiese doeleindes word daar in hierdie verhandeling na hoofstukke as Strome verwys. Die Eerste Stroom motiveer die metodologiese benaderinge en voortspruitende strategieë wat aangewend word in die navorser se gelyktydige onderrig van, en navorsing en skrywe oor, kontakimprovisasie. Die Tweede Stroom word aangebied as ‘n mondelinge betuiging van die navorser se poging om praktiese oplossings te vind vir die toenemende kompleksiteit in haar omgewing oor die laaste twee dekades. Hierdie Stroom word primêr as ‘n eerste persoon narratief aangebied met behulp van verwysings deur ander somatiese en kontakimprovisasie praktisyns wat in die narratief geanker en aangebied word as persoonlike onbewustelike/kollektiewe onbewuste tussenwerpsels. In die Derde Stroom word ‘n plaaslik ontwikkelde artistieke navorsingstrategie, naamlik Sekondêre Voorrang, gebruik om die konvensionele literatuurstudie op kreatiewe wyse te herinterpreteer. Die waarnemings van teoretici en praktisyns uit die navorsers se eie studieveld (teater en drama), sowel as uit ‘n verskeidenheid van interafhanklike studievelde (onder andere psigologie, sosiologie, evolusionêre biologie, kwantum fisika, pedagogie en visuele kuns) word aangebied as ‘n outonome outeursbedoelde stem en maak gebruik van ‘n performatiewe what if. Díe strategie dien as ‘n metode om die navorsers se ervaring van die implisiete afhanklikhied tussen persoonlike onderbewussyn en kollektiewe onbewustheid motiverings vir aksie te demonstreer, en die transdisiplinêre grond van idees en waarnemings, in die besonder oor kontakimprovisasie as ‘n komplekse sisteem van verpersoonlikte kennis, te ontgin en bloot te lê. In die Vierde Stroom word kontakimprovisasie as ‘n komplekse sisteem bespreek en die eienskappe van nie-liniariteit, paradoks, ontluiking en addisionele kapasiteit wat in die Tweede en Derde Strome bespreek is, is verder op die voorgrond geplaas. Die Vyfde Stroom toon die sameloop en ooreenkomste aan tussen teorieë oor tussenkoms, verpersoonliking en transformasie soos van toepassing mag wees op opvoeders in ‘n tersiêre opvoedkundige performance konteks. Hierdie bespreking is afgewissel met vertellings van die navorser se eie pogings - deur haar uitvoerende kunste opvoedkundige praktyk – om agentskap en transformasie as werkbare elemente te verstaan. Die Sesde Stroom word aangebied as ‘n persoonlike filosofie van handeling. Die implisiete waardes en strategieë van die navorser, soos bloot gelê in die vorige Strome, word hier gesuiwer en aangebied as bekragtiging en Aksies vir die volgehoue gebruik, deur die navorser in haar eie gelokaliseerde opvoedkundige konteks, van kontakimprovisasie as ‘n grondleggende somatieke benadering vir performers. As deel van hierdie verhandeling se posisionering as artistieke navorsing word ‘n Voorwoord en Slotwoord gebruik om die leser se aandag te vestig op die verpersoonlikte aard van die onderwerp onder bespreking.

Typescript (photocopy). / Digitized by Kansas Correctional Industries / Department: English.

Student stories are a potentially rich natural resource running through the veins of our schools, but this resource sometimes goes untapped. One strategy teachers can use to take advantage of this resource is to formally introduce oral storytelling into the classroom--to explicitly teach students how to choose and craft stories from their lives and then allow them to publicly perform those stories. The Story Shop Community Education Program (a pseudonym) in New York City is a non-profit devoted to bringing the art and craft of oral storytelling to populations that might not otherwise have access to it through series of free workshops. This research project took place over sixteen weeks of one such workshop at a Title I public high school in East New York, Brooklyn. It addresses the following question: How does an oral storytelling unit affect both individual students and their classroom relationships? More specifically, (1) How do individual students engage with an oral storytelling unit? (2) What is the perceived impact of an oral storytelling unit on classroom relationships? (3) How do students perceive the impact of an oral storytelling unit both on their understanding of themselves as individuals and on their relationships with each other? and (4) How does the teacher perceive the impact of an oral storytelling unit on her individual students and her classroom relationships? Drawing on an interpretivist/social network approach and grounded in the tenets of narrative qualitative research, this project utilizes mixed methods to investigate whether an oral storytelling unit provided students with opportunities for growth in identity development and deepening of their classroom relationships. This investigation documents how granting students the time and space to bear witness to each other's lives and `go public' with stories that could otherwise go unheard might improve classroom community and therefore student motivation.

There is no abstract available for this thesis.

There is no abstract available for this dissertation.

This creative project is Part I of a three part coordinated recruiting program for prospective industrial arts teachers. Part I consisted of a 35 mm slide series and an accompanying tape recording.The project included research on the processes of making a vocational choice. Particular emphasis was placed on why people choose teaching as a career. The conclusions drawn from this research was applied to the content of the slides and the dialog of the tape recording. Therefore, information regarding the industrial arts curriculum, advantages in teaching industrial arts, and an overview of the total curriculum for an industrial arts major at Ball State University was presented.This presentation was designed to provide insight into the pre-partition of becoming an industrial arts teacher so that this choice would be available to the individual when he is making a decision about an occupation.

The purpose of this study was to discover variables or combinations of variables which would predict academic success in industrial education at Norfolk State College. More specifically, it utilized standardized verbal and nonverbal tests and compared these with the presently used Scholastic Aptitude Tests as predictors of success in industrial education. The data for this study were collected from tests administered to a sample population by the writer during regularly scheduled class periods in the Fall semester, 1971, and from the Scholastic Aptitude Test records in the Office of the Registrar at Norfolk State College. The variables included in the study were: Scholastic Aptitude Test - Verbal scores, Scholastic Aptitude Test - Mathematical scores, Scholastic Aptitude Test - Total scores, Bennett Mechanical Comprehension Test, and the Raven Progressive Matrices.The criteria of success were the final semester grades in the following courses: Basic Woodworking, Introduction to Technical Drafting, Introduction to Industrial Education, Basic Electronics, and Automobile Engines.In order to show the relationship between the variables studied, the data were analyzed and statistics were computed throw a program developed by the Health Sciences Computing Facility at University of California at Los Angeles. This program incorporated a step-wise regression and rendered a correlation matrix, an analysis of variance, a multiple r and a standard error of estimate. All statistics utilized in this study were computed by the Ball State University Computer Center. The results of this study indicated that the variable that offered the best information of predicting academic success in industrial education at Norfolk State College was the Raven Progressive Matrices. The combinations of variables which were statistically significant were the SAT Mathematical and the Bennett MeoY~anioal Comprehension Test correlated to final grades in Electronics, and the SAT Mathematical, Raven Progressive Matrices, Bennett Mechanical Comprehension Test, and SAT Verbal correlated to final grades in Drafting. The results of the study seem to justify the following conclusions: 1. The SAT scores are not valid predictors of academic success in several of the technical areas of industrial education and probably should not be used as such. 2. The Raven Progressive Matrices showed evidence of contributing significantly to prediction of academic success in industrial education at Norfolk State College. 3. The Bennett Mechanical Comprehension Test showed a high correlation with final grades in Drafting but probably should not be used as a predictor in other areas. 4. Neither verbal or nonverbal tests used without benefit of other devices should be used as predictors of academic success in industrial education at Norfolk State College. As a result of the present investigation, it is recommended that: 1. A follow-up study of the students in this research study be conducted to ascertain their success as students and later as teachers in the field of industrial education. 2. An investigation employing individual rather than group testing as predictive devices be conducted.3. Further study of the use of the Raven Progressive Matrices be made with larger samples and other criteria of success.

Graphic communications courses are being taught in the province of British Columbia without official recognition from the Ministry of Education. As a result development of graphic communication programs has been sporadic and independent. Although the Ministry of Education does not officially recognize Graphic Communications, they do provide funds for equipment and facilities. Graphic communications or graphic arts is traditionally accepted as a component of industrial education. Without official recognition by the Ministry of Education and the Faculties of Education, there is no teacher training in graphic communications available in this province. Thus educators involved with graphic communication courses have diverse backgrounds and have been trained in either art, industrial education or business education. Curriculum development has reflected this diversity of experience and background. This thesis project was initiated because of the following discrepancies. There are no prescribed courses of study but seventy-five programs exist throughout the province. There are no provincial teacher training programs but teachers are authorized to offer graphic communications courses. There are no provincially prepared resource materials but curriculum guides are available in Canada and the United States. The objective of this thesis is to assemble resource material for graphic communications education and to propose a rationale for the development of a program of studies recognized by the Ministry of Education. Graphic communications is a component of visual communications that integrates concepts from both art education and industrial education. This blend of art and technology can provide a philosophical base for program development. The interface of personal expression with machine manipulation is the basis for preparing graphic materials. The review of graphic communications curriculum materials was initiated to determine the existence and availability of prepared materials. The research was conducted over a twelve month period and consisted of correspondence with every state and provincial education agency in Canada and the United States. The collection represents the present status of curriculum development and provides numerous examples of curriculum strategies. An emphasis on motor skill development was evident in the collected materials. Graphic communications is an inter-disciplinary course of studies and program development should reflect the relationship of imagery and technology. Personal expression and skill development are components needed to prepare and produce graphic material. This philosophical blend of concepts from art and industrial education can provide the impetus to promote the integration of imagery and technology inherent in graphic communications education. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate