LIVE ART is a program for students with special needs and students who are typically developed. They work collaboratively, with integrated forms of performance and visual art, culminating in a live performance. LIVE ART sought to use innovative methods of pedagogy, peer support and artistic influence to create a new curriculum where all students, regardless of ability, could grow. Along with this account, this thesis illustrates the experience of one teaching artist and his growth and journey through the program. His personal struggles with previous educational systems are mirrored in the struggles of the students, with their successes leading to his own. The thesis culminates in the revelation of teaching as a necessary mode for his own growth.

This research investigates drama teaching practice in New Zealand primary and secondary schools, through a case-based qualitative inquiry into the practice of six experienced drama teachers. The study reveals that whilst drama education is couched within the Arts learning area of the national curriculum, the educational philosophy enacted by participants encompasses a broad vision for drama education, which extends learning beyond a technical knowledge of theatre and theatre-making towards the domains of social and personal meaning-making and emancipatory knowledge. Explored through the lenses of Artist and Co-artist, the study identifies the socio-cultural nature of the practice of these teachers. Teachers’ artistry is revealed through creative use of drama tools and processes to create aesthetically-rich learning experiences. The significance of relational pedagogy to teaching and learning in these drama classrooms is also examined within the study. Teachers’ accounts reveal the ways they seek to develop interpersonal relationships with and between students, and establish ensemble-based approaches to learning in drama. As co-artists, participants employ pedagogies that empower students to actively participate in a community of drama practice, intentionally developing students’ capacities for collaboration, creativity and critical thinking, while discovering and developing their artistic-aesthetic capabilities. These teachers share power with students through acts of negotiation, creating dialogic learning opportunities in order to develop student agency as artists and citizens. Attempts to navigate tensions that arise due to increased performativity pressures on teachers and to avoid prescriptive and technocratic delivery of drama curriculum are also explored. In-depth interviews were conducted with participants to discover the complexities of their teaching practice, the philosophy of drama education they hold, and the decisions they make in curriculum content and pedagogy. Observations of classroom practice were also undertaken, along with an analysis of planning documents and an interview with their students. The study provides six rich case studies of drama practice in New Zealand schools, contributing to local and international understandings of enacted drama education within school settings. Implications for educational policy, curriculum design, classroom practice and teacher education arise from this investigation.

Creative Writing Joins Rhetoric and the Public Arts: A Comparative Study of Craft, Workshop, and Practice beyond English Studies analyzes the field of creative writing through the lenses of classical rhetorical scholarship, aesthetic theory, and craft criticism in the arts. Through a historical analysis of techne (craft or method) and telos (end or final cause) in the work of Aristotle and Plato, I argue that what we call "craft" often suffers from a limiting definition that privileges formal and material constraints over the more vital concerns of knowledge and consciousness reflected in artistic education. Craft knowledge is demonstrated through the processes of art-making internalized by the student apprentice. No matter the form or discipline, craft practice embodies the processes and consciousness that make art education possible. The dissertation analyzes concepts of craft as technique while revealing how artistic method illuminates the ends to which art serves. Craft consciousness, a term outlined in this dissertation, is defined as an awareness of artistic method and practice across disciplinary boundaries. If applied by teachers and students of creative writing, this consciousness will redefine writing workshop, curriculum design, programmatic elements, and the mission of creative writing as an academic discipline. By shifting the field toward the craft principles shared with the performing and fine arts, the dissertation uses rhetoric and public arts as lenses for reimagining the mission of creative writing more broadly as a discipline simultaneously engaged with democratic and occultic principles. In proposing an alternative approach to traditional writing workshop by examining author-function, this dissertation also draws from Paulo Freire's term "nuclei of contradiction" in order to argue for a pedagogy that attends to the inherent contradictions that form the foundation of creative writing culture. Freire's "critical consciousness" informs the term "craft consciousness" and the latter term forms the scaffolding in which to reimagine educational principles in creative writing. In order to reimagine craft and workshop practices in traditional and virtual spaces, this dissertation examines how theories, histories, and practices in craft will transform creative writing into a field grounded in artistic practice and intellectual inquiry.

The thesis presents a qualitative study which examines teachers’ and pupils’ experiences of drama tasks in secondary school subject lessons other than Drama, where the tasks are incorporated in pursuit of curriculum-defined teaching and learning goals. I take a cultural-historical perspective in my analysis, interrogating the possibilities for meaningful appropriations of drama as a pedagogical toolkit by examining social interaction and communication within the cultural context of the classroom and how these practices may have developed over time. Set in four secondary school classrooms in the UK, the study focused on the experiences of teachers, (who are not trained drama specialists), and their pupils as they undertook drama tasks as part of curriculum lessons. I carried out a series of lesson observations, supplemented by interviews with participants. Using Cultural Historical Activity Theory (Cole 1996, Engeström 1987, Engeström 1999) as a heuristic tool, I created an analytical framework that explored the tensions between communicative tools, rules of the classroom space, and teacher-pupil and peer relations. This theoretical stance appreciates both the dynamic nature of classrooms and the possibilities for pedagogies of choice. The emphasis on tool-mediated action offers a fresh perspective in that it creates a structured and detailed framework for exploring the subtle and complex process of empathetic thought. This study reveals some of the ways in which tensions occur and existing and historically-embedded cultural practices are brought to the surface, and reinforced or challenged. I provide extracts from the data to illustrate a concern for an assessment-driven acquisition of curriculum content is a particular constraint, along with varying opportunities for both teacher and pupils to construct a framework for spontaneous in-role action within the dramatic form. The appropriation of communicative tools, although influential in achieving goals, does not always preclude emotional investment in the tasks. Although there are shifts from teacher authority to increased pupil decision-making, the way in which the teacher and pupils operate in these drama tasks reveals as much about the established and reinforced learning and social practices of the classroom, as the way these practices are changed. The research considers how drama as a pedagogical toolkit has developed historically, and it reveals implications for future study and practice relating to the understanding of drama-as-toolkit within formal educational settings.

Este trabalho tem por objetivo contribuir para a reflexão sobre questões e desafios com que se defrontam aqueles que lidam com o ensino de arte no espaço escolar e também aqueles que trabalham com a formação de professores de Arte. Quando se distancia dos motivos que o levaram a escolher a docência como campo de atuação, o professor de Arte vive uma crise de sentido da profissão, que se revela tanto em suas ações como em suas concepções sobre o ensino-aprendizagem da arte. A hipótese central do trabalho é de que o encontro de sentidos para a profissão equivale à conquista de uma atitude crítica, reflexiva e inventiva no exercício da docência e, ainda, de que essa atitude pode ser favorecida pela aproximação do professor com o fenômeno artístico. São apresentados e discutidos os resultados de uma iniciativa desenvolvida com alunas do Curso de Especialização em Arte-Educação da Escola de Comunicações e Artes da USP, de 1997, quando a autora também o freqüentava, e de um projeto desenvolvido com professores de Arte de escolas municipais da região leste de São Paulo, durante o ano de 1999. O material de estudo é constituído de produções escritas e visuais dos sujeitos, bem como de relatos autobiográficos que tiveram como foco a formação pessoal nos campos da arte e da educação. As iniciativas desenvolvidas com os professores são discutidas à luz das contribuições advindas da história de vida como método de investigação e de formação de adultos, bem como dos estudos sobre a inteligência criadora, cuja principal manifestação é a capacidade humana de forjar projetos. O trabalho ajuda a dimensionar as possibilidades de atuação em uma modalidade de formação docente que, apesar das pesquisas em ritmo crescente, necessita de muitas outras investigações a respeito da interdependência entre os princípios norteadores para o ensino de arte no espaço escolar e as condições objetivas e subjetivas que favorecem ou dificultam o pleno exercício do arte-educador. / This paper objective is to contribute for the reflection about questions and challenges that those who lead with the teaching of Arts in the school space, and also those who work with the formation of Arts teachers face with. When the teacher sets apart from the motif that led him/her to choose teaching as his/her acting field, the Arts teacher faces crisis about the profession sense, that is reveled, both in his/her actions and in his/her conception about the teaching-learning process of Arts. The central hypothesis of the work is that the encounter of senses for the profession is the same as the conquest of a critica, reflexive and creative attitude in the practice of teaching, and, therefore, that this attitude can be favored by the approximation of the teacher and the artistic phenomenon. The results, herein presented and discussed, are part of a project developed by the students of the Especialization course in Arts-Education from Escola de Comunicação e Artes da USP, from 1997, when the author also took part of it, and from a project developed with Arts teachers from public schools of the East region of São Paulo, during the year of 1999. The study material is constituted of written and visual production of man/woman, as well as, autobiographic reports that had as focus the professional formation in Arts and Education fields. The initiative developed with the teachers are discussed by the light of contributions that came from life history as means of investigation and formation of adults, as well as studies about creative intelligence, whose main manifestation is the human capacity of forging projects. The work helps to give dimensions for the possibilities of acting in a kind of teaching formation, that, in spite of the increasing rythm of researches, needs much more investigation, regarding the interdependence between the base principles for the teaching of Arts in the school space, and the objective and subjective conditions that benefit or complicate the complete practice of the Arts teacher.

Trata-se de pesquisa sobre o arbitrário cultural em políticas de formação no desenvolvimento de democracias culturais. O estudo apresentou o contexto da formação nos debates que permearam a gestão Haddad na cidade de São Paulo, sobretudo na formulação do Plano Municipal de Cultura. Em seguida, realizou-se um estudo global sobre arranjos administrativos, diretrizes e programas em políticas públicas de educação artística e cultural em oito democracias capitalistas. Por fim, para elucidar os princípios que regem as diferentes visões e divisões do campo da formação, e de outras políticas que a margeiam, realizou-se uma revisão crítica da sociologia da cultura de Bourdieu, em sua crítica a Malraux, no período correspondente à gênese e superação do paradigma da democratização cultural na França / This is research on cultural arbitrary in formation policies in the development of cultural democracies. The study presented the formation context in the debates that permeated the Haddad management in the city of São Paulo, especially in the formulation of the Municipal Plan of Culture. Then, a comprehensive study was conducted on administrative arrangements, guidelines and programs in public arts and cultural education policies in eight capitalist democracies. Finally, in order to elucidate the principles that govern the different views and divisions of the field of formation, and other policies that border on it, a critical revision of Bourdieu\'s sociology of culture was made in his critique of Malraux in the period corresponding to genesis and overcoming the paradigm of cultural democratization in France

Esse trabalho busca estabelecer relações entre a neurociência e o ensino e aprendizagem da arte, mantendo o foco nas artes plásticas. Desse modo o ato de desenhar, observar, perceber e imaginar, exercidos na ação artística, são considerados a partir do funcionamento do sistema nervoso. O conhecimento de como o encéfalo funciona pode dar subsídios importantes para futuras formulações metodológicas da área. / This work seeks to establish relations between neuroscience and the teaching and learning of art, having plastic arts as main focus. This way the act of drawing, observing, interpreting and imagining are considered from the functioning of the nervous system. The knowledge of how the nervous system, mainly the brain, works may provide important subsidies for future methodological formulations in the area.

Thesis (M.M.)--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. / Statement of the problen4 The purposes of this study were (1) to examine the concepts and recommendations underlying the organization of a comprehensive school and their implications for certain areas of the humanities; (2) to investigate the interrelationships in the arts of music, architecture, sculpture, and painting from philosophical and aesthetic viewpoints; and (3) to formulate a course of study for a comprehensive high school for developing understanding and appreciation of accomplishments in music and art. Method of procedure. This study outlined an approach to a better understanding of the methods by which the interrelatedness of the arts can contribute to the needs and changes of society through the American comprehensive high school. It similarly presented the values of an interrelated art course for all students. Selected periodicals, publications of learned organizations, professional education texts, histories of music and art, and unpublished documents were essential in the development of this study. The importance of the study was emphasized by a need for flexible and well-balanced school programs adapted to the needs of each individual student. It was found that such a well-balanced organization could be developed through the comprehensive high school, which endeavors to teach all children regardless of class or background the values of democracy and social integration. It further endeavors to broaden and develop the intellectual, emotional, and creative potentials of the student, through a cultural as well as a scientific background [TRUNCATED]. / 2031-01-01

Este trabalho tem por objetivo contribuir para a reflexão sobre questões e desafios com que se defrontam aqueles que lidam com o ensino de arte no espaço escolar e também aqueles que trabalham com a formação de professores de Arte. Quando se distancia dos motivos que o levaram a escolher a docência como campo de atuação, o professor de Arte vive uma crise de sentido da profissão, que se revela tanto em suas ações como em suas concepções sobre o ensino-aprendizagem da arte. A hipótese central do trabalho é de que o encontro de sentidos para a profissão equivale à conquista de uma atitude crítica, reflexiva e inventiva no exercício da docência e, ainda, de que essa atitude pode ser favorecida pela aproximação do professor com o fenômeno artístico. São apresentados e discutidos os resultados de uma iniciativa desenvolvida com alunas do Curso de Especialização em Arte-Educação da Escola de Comunicações e Artes da USP, de 1997, quando a autora também o freqüentava, e de um projeto desenvolvido com professores de Arte de escolas municipais da região leste de São Paulo, durante o ano de 1999. O material de estudo é constituído de produções escritas e visuais dos sujeitos, bem como de relatos autobiográficos que tiveram como foco a formação pessoal nos campos da arte e da educação. As iniciativas desenvolvidas com os professores são discutidas à luz das contribuições advindas da história de vida como método de investigação e de formação de adultos, bem como dos estudos sobre a inteligência criadora, cuja principal manifestação é a capacidade humana de forjar projetos. O trabalho ajuda a dimensionar as possibilidades de atuação em uma modalidade de formação docente que, apesar das pesquisas em ritmo crescente, necessita de muitas outras investigações a respeito da interdependência entre os princípios norteadores para o ensino de arte no espaço escolar e as condições objetivas e subjetivas que favorecem ou dificultam o pleno exercício do arte-educador. / This paper objective is to contribute for the reflection about questions and challenges that those who lead with the teaching of Arts in the school space, and also those who work with the formation of Arts teachers face with. When the teacher sets apart from the motif that led him/her to choose teaching as his/her acting field, the Arts teacher faces crisis about the profession sense, that is reveled, both in his/her actions and in his/her conception about the teaching-learning process of Arts. The central hypothesis of the work is that the encounter of senses for the profession is the same as the conquest of a critica, reflexive and creative attitude in the practice of teaching, and, therefore, that this attitude can be favored by the approximation of the teacher and the artistic phenomenon. The results, herein presented and discussed, are part of a project developed by the students of the Especialization course in Arts-Education from Escola de Comunicação e Artes da USP, from 1997, when the author also took part of it, and from a project developed with Arts teachers from public schools of the East region of São Paulo, during the year of 1999. The study material is constituted of written and visual production of man/woman, as well as, autobiographic reports that had as focus the professional formation in Arts and Education fields. The initiative developed with the teachers are discussed by the light of contributions that came from life history as means of investigation and formation of adults, as well as studies about creative intelligence, whose main manifestation is the human capacity of forging projects. The work helps to give dimensions for the possibilities of acting in a kind of teaching formation, that, in spite of the increasing rythm of researches, needs much more investigation, regarding the interdependence between the base principles for the teaching of Arts in the school space, and the objective and subjective conditions that benefit or complicate the complete practice of the Arts teacher.

Trata-se de pesquisa sobre o arbitrário cultural em políticas de formação no desenvolvimento de democracias culturais. O estudo apresentou o contexto da formação nos debates que permearam a gestão Haddad na cidade de São Paulo, sobretudo na formulação do Plano Municipal de Cultura. Em seguida, realizou-se um estudo global sobre arranjos administrativos, diretrizes e programas em políticas públicas de educação artística e cultural em oito democracias capitalistas. Por fim, para elucidar os princípios que regem as diferentes visões e divisões do campo da formação, e de outras políticas que a margeiam, realizou-se uma revisão crítica da sociologia da cultura de Bourdieu, em sua crítica a Malraux, no período correspondente à gênese e superação do paradigma da democratização cultural na França / This is research on cultural arbitrary in formation policies in the development of cultural democracies. The study presented the formation context in the debates that permeated the Haddad management in the city of São Paulo, especially in the formulation of the Municipal Plan of Culture. Then, a comprehensive study was conducted on administrative arrangements, guidelines and programs in public arts and cultural education policies in eight capitalist democracies. Finally, in order to elucidate the principles that govern the different views and divisions of the field of formation, and other policies that border on it, a critical revision of Bourdieu\'s sociology of culture was made in his critique of Malraux in the period corresponding to genesis and overcoming the paradigm of cultural democratization in France