This cognitive ethnographic study explored the mental processes that professional actors used when making artistic choices while engaged in creative practices to begin a conversation about how the theatrically gifted and talented population is viewed, researched, and educated in non-arts subjects. Professional actors at two sites were observed, videotaped, and interviewed over several rehearsals during play production. The major thematic findings indicated that artistic decision making results from actors engaging in a cyclical process of private work, affective validation, and collaboration. Implications for teaching theatrically gifted students call for classroom environments and processes that echo theatrical rehearsal structures, while engaging the imagination through personal connection and discovery.

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The present study posed two research questions. Because of limited research regarding leadership in arts and culture organizations, the background question to contextualize the study was: How do nonprofit arts and culture leaders in the Jacksonville, Florida, metropolitan area perceive their roles within their organizations? The foreground question was: How do leaders of nonprofit arts and culture organizations in the Jacksonville, Florida, metropolitan area understand their roles in providing underserved K-12 students access to and opportunity for arts education? The research questions warranted a qualitative research design using semi-structured, in-depth interviews. The review of the literature documented the importance of arts education for all and how school policy mandates have led to a reduction in access to and opportunity for arts education, especially in schools with high poverty rates and students of color. Interview data were collected from 11 leaders of nonprofit arts and culture organizations. Data analysis involved identifying five typologies that organized the description and interpretation dimensions of Eisner’s process of educational criticism (1998): arts education, programs, and services; advocacy and engagement for the arts; challenges to providing access to and opportunities for arts education; the role of partnerships; and nonprofit arts and culture organizational development. Data analysis corroborated that the problems of inequitable arts education is still pervasive in K-12 education. The participants perceived their missions as focused on arts education for all and as contributing to filling the gap in providing equitable access to and opportunities for arts education for underserved K-12 students. The present study concluded that nonprofit arts and culture organizations can provide a unique set of contributions, such as programs for K-12 students, arts leadership development, and partnerships with schools and with each other in delivering equitable access to and opportunities for arts education for underserved K-12 students.

Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

Literacy education defined as the reading and writing of print text is undergoing a paradigmatic shift towards a pedagogy of multiliteracies (Cole & Pullen, 2010). At the same time, demands for rapid, efficient, and accurate reading skills escalate (Katzir et al., 2006) in a global society with increasingly instant and complex literacy requirements. Musical rhythm plays a role in multiliteracy and print literacy learning. Rhythm is essential for music making and reading, and may facilitate print literacy for all children, including those who struggle with traditional print-based teaching and learning. The purpose of this research was to investigate the potential for the semiotic resource of rhythm to engage early years children in print and non-print literacy learning. A twelve week mixed methods quasi-experimental study was conducted to examine the effects of a multimodal Orff-based learning design on elements of reading and rhythm for grades one to three children in four schools. Students (N = 169) from nine classrooms were non-randomly assigned to one of two groups. The researcher instructed both groups two to three times a week totaling twenty-five sessions in each homeroom classroom. The experimental groups participated in Orff-based learning experiences that focused on elements of rhythm and prosodic oral reading fluency. The control group listened to and sang song-storybooks. Beat performance and oral reading rate assessments were administered as pre- and post-tests to each group. Struggling readers in the experimental group significantly improved on measures of oral reading rate compared to struggling readers in the control group using matched pairs t-procedures and analyses of variance. Associations between beat performance and oral reading rate were explored using bivariate and multivariate regression and correlation analysis. A strong positive correlation was found between measures of beat competency and measures of oral reading rate. Qualitative methods using grounded theory, semiotic data analysis, multimodal analysis, action research, and design research methods placed within a bricolage framework (Kincheloe & Berry, 2004) and examined through the lens of complexity thinking (Davis & Sumara, 2006) added multiperspectival meaning-making of data. Findings pointed to the value of multimodal music and rhythm experiences for engaged, deep, meaningful print and non-print learning for diverse individual and classroom collective learners in both control and experimental classrooms. Beat competency was important to both print and music literacy learning in experimental classrooms. Beat experiences were compelling, equitable, and appeared to organize music, oral language, and print literacy into meaningful and accessible patterns and structures. Similar findings may be occasioned through an ontology of multimodal richness, a complex epistemology, embodied ways of knowing and communicating, and systemic shared beliefs and values.

This research addresses the effect of pedagogical ways-of-knowing in higher education design programmes such as Graphic Design, Interior Design, Fashion, and Industrial Design. One problematic aspect of design studio pedagogy is communication between teachers and students about the aesthetic visual meaning of the students’ designed objects. This problematic issue involves ambiguous and divergent ways-of-knowing the design meaning of these objects. The research focus is on the design teacher role in design studio interactions, and regards pedagogical ways-of-knowing as the ways in which teachers expect students to know visual design meaning. This pedagogical issue is complicated by the fact that there is no agreed-upon corpus of domain knowledge in design, so visual meaning depends greatly on the social knowledge retained by students and teachers. The thesis pursues an explanation of pedagogical ways-of-knowing that is approached through the philosophy of critical realism. How it is that particular events and experiences come to occur in a particular way is the general focus of critical realist philosophy. A critical realist approach to explanation is the use of abductive inference, or inference as to how it is that puzzling empirical circumstances emerge. An abductive strategy aims to explain how such circumstances emerge by considering them in a new light. This is done in this study by applying Luhmann’s theory of the emergence of cognition in communication to teacher ways-of-knowing in the design studio. Through the substantive use of Luhmann’s theory, an abductive conjecture of pedagogical ways-of-knowing is mounted. This conjecture is brought to bear on an examination of research data, in order to explain how pedagogical ways of-knowing constrain or enable the emergence of shared visual design meaning in the design studio. The abductive analysis explains three design pedagogical ways-of-knowing: design inquiry, design representation and design intent. These operate as macro relational mechanisms that either enable or constrain the emergence of shared visual design meaning in the design studio. The mechanism of relation is between design inquiry, design representation and design intent as historical knowing structures, and ways-of-knowing in respect of each of these knowing structures. For example, design inquiry as an historical knowing structure has over time moved from ways-of-knowing such as rationalistic problem solving to direct social observation and later to interpretive cultural analysis. The antecedence of these ways-of-knowing is important because communication about visual meaning depends upon prior knowledge, and teachers may then reproduce past ways-of-knowing. The many ways-of-knowing that respectively relate to design inquiry, design representation and design intent are shown to be communicatively formed and recursive over time. From a Luhmannian perspective, these ways-of-knowing operate as variational distinctions that indicate or relate to the knowing structures of design inquiry, design representation and design intent. This is the micro-level operation of pedagogical ways-of-knowing as relational mechanisms in design studio communication. Design teachers’ own ways-of-knowing may then embrace implicit way-of-knowing distinctions that indicate the knowledge structures of design inquiry, design representation and design intent. This implicit indication by distinction is the relational mechanism that may bring design teachers’ expectation that this and not that visual design meaning should apply in communication about any student’s designed object. Such an expectation influences communication between teachers and students about the potential future meaning of students’ designs. Consequently, shared visual design meaning may or may not emerge. The research explanation brings the opportunity for design teachers to make explicit the often implicit way-of-knowing distinctions they use, and to relate these distinctions to the knowing structures thus indicated. The study then offers a new perspective on the old design pedagogical problem of design studio conflict over the meaning of students’ designs. Options for applying this research explanation in design studio interactions between students and teachers are therefore suggested.

This study takes its starting point in a shift identified at the Teacher Institute of Drawing (Teckningslärarinstitutet - TI) within the Konstfack School of arts and crafts in Stockholm at the time of the wave of radicalism that took place in about 1968. Changes in the drawing instruction at TI have been examined through interviews with former students at the institute, student fanzines and archive materials relating to the restructuring of the Konstfack School during the 1960s. Here, it emerges that the curriculum previously focused largely on aspects of form in the mastery of tools used to produce images. After 1968, however, the drawing education became substantially more theoretical. It came to focus more on discussing pictures and images and understanding the societal functions of drawing, which were emphasized more than students’ own creative work. During the period studied, subject categories were also restructured, with new constellations arising and the boundaries between different media becoming more diffuse. Ingredients in these changes included photographic media, analyses of mass media and a critical questioning of an autonomous artistic domain. A disrupted balance in power relations at the school, with students questioning established norms, contributed to this new orientation.  In a creative process, accompanying the research, I have engaged in practices of picturemaking no longer included in the training at the current Department of Visual Arts and Sloyd Education at Konstfack, evolved from the former Teacher Institute of Drawing. This work could be described as a form of experimental archaeology, in which I have reflected on how practices might tread new paths when excluded from a previous context. I tested a method of free expression in painting and practised life drawing. I produced a large sculpture, to afford space for creating with physical materials. I also investigated drawing as a basis for other forms of pictorial expression, such as sculpture. The experience of this process enhanced my understanding, contributing an independent comment on the theoretical and historical investigation. The result is a monument in the form of an installation, constituting a tribute to the historical profession of drawing teacheresses. / Som utgångspunkt för studien har ett brott i undervisningen på Konstfacks Teckningslärarinstitut (TI) identifierats vid tiden för 68-vågen. Något som i förlängning kan antas ha påverkat kunskapsstyrning via undervisning i svenska statliga grundskolor och gymnasier. Baserat på intervjuer med före detta elever på Teckningslärarinstitutet, studenttidningar och arkivmaterial från 1960-talets omstruktureringar av utbildningen har förändringar i teckningsundervisningen undersökts. Här framkommer att den äldre undervisningen i stor utsträckning inriktades på formaspekter i behärskande av verktyg för bildframställning. Efter 1968 teoretiserades teckningsundervisningen kraftigt. Den fick en tydligare riktning mot tal om bilder och mot förståelse av teckningens sociala funktioner än mot elevers egna skapande. Under den undersökta perioden gjordes också omstruktureringar kring ämnesindelningar där nya konstellationer uppstod och uppdelningen mellan olika medier blev otydligare. Fotografiska medier, massmedieanalys och ifrågasättande av en autonom konstsfär hade del i teckningens förändring. Rubbad balans i skolans maktförhållanden med studenters ifrågasättande av det etablerade bidrog.   Som ett visuellt gestaltande spår till undersökningen har jag prövat bildskapande praktiker, vilka inte ingår i den nuvarande bildlärarutbildning som utvecklats ur dåtidens teckningslärarutbildning. Det gestaltande arbetet kan beskrivas som ett slags experimentell arkeologi. Här har jag reflekterat över hur praktiker kan ta nya vägar när de utesluts ur ett sammanhang. Jag prövade en metod för fritt skapande inom måleri och deltog regelbundet i modellteckning. För att låta praktiskt skapande i fysiskt material ta plats gjorde jag en stor skulptur. Teckning som grund för andra bilduttryck, såsom skulptur, undersöktes. Det gestaltande arbetet har gett en erfarenhetsbaserad ingång till förståelse och bidrar som fristående kommentar till den teoretiska undersökningen. Resultatet är en installation som ställdes ut under Konstfacks examensutställning. Installationen utgör ett monument över den historiska yrkesgruppen teckningslärarinnor.

Made available in DSpace on 2016-12-08T16:19:08Z (GMT). No. of bitstreams: 1 Sandra.pdf: 1302327 bytes, checksum: 04e3e1a41f8d3383958f4bc6ca8798bb (MD5) Previous issue date: 2010-12-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims at investigating the possibilities of an interrelation between different approaches in Arts education, particularly between Drama, Visual Arts and Music. Although the Brazilian curricular Parameters emphasize the importance of students having access to distinct artistic approaches, only few schools actually have teachers of different Art subjects; and even when that is the case, the interrelations are hardly established. This is a theoretical study that analyzes epistemological and methodological aspects and the results of three stages of the Transdisciplinaridade e intersemioses no ensino de Arte ( Transdisciplinarity and Intersemiosis in Arts Education ) research, the TRANSARTE Project: experiences with the same goals, performed in different institutions and periods of time. Participating in the second stage of this Project, TRANSARTE II, and experiencing as a teacher the amazing results were determining aspects for carrying out this research. The possibility of joining distinct kinds of knowledge enabled the search for theoretical foundations related to interdisciplinarity and transdisciplinarity, as well as Discursive Semiotics. It was possible to observe that the students were able to interrelate approaches when provided with proper conditions to do so. It was likewise verified that the teacher is the main actor in this process, for their actions are decisive in forming a study group as well as in the actual classes, as the interrelating approaches at school mean group work, along with at least one teacher of each area. According to the data analysis of the three stages of the Project, it is pertinent to suggest it as an alternative to Arts education in City schools in Florianópolis, including the school where the TRANSARTE II Project took place / Esta pesquisa tem por objetivo verificar possibilidades de inter-relação entre diferentes linguagens no ensino de Arte, mais especificamente, entre Artes Cênicas, Artes Visuais e Música. Embora os Parâmetros Curriculares Nacionais destaquem a importância de o estudante ter acesso a diferentes linguagens artísticas, na prática são poucas as escolas que têm professores das distintas áreas da Arte; e mesmo que isto se dá, dificilmente as inter-relações são estabelecidas. Trata-se de uma pesquisa teórica, que analisa aspectos epistemológicos, metodológicos e os resultados de três etapas da pesquisa Transdisciplinaridade e intersemioses no ensino de Arte , o Projeto TRANSARTE: experiências com os mesmos propósitos, realizadas em instituições e tempos distintos. Ter participado da segunda etapa do Projeto, o TRANSARTE II, e vivenciado, como professora, seus surpreendentes resultados foram determinantes para a realização desta investigação. Diante das possibilidades de aproximação de saberes, foram buscadas bases teóricas voltadas à inter e à transdisciplinaridade, bem como à Semiótica Discursiva. Constatou-se que os estudantes conseguem inter-relacionar linguagens quando lhes são dadas condições para tal. Igualmente, percebeu-se que o professor é o principal ator no processo, pois suas ações são decisivas, tanto na constituição do grupo de estudo, como nas aulas propriamente ditas, pois inter-relacionar linguagens na escola significa trabalho coletivo, com ao menos um professor de cada linguagem. A partir da análise dos dados das três etapas do Projeto, entende-se como pertinente sugeri-lo como alternativa para o ensino de Arte na Rede Municipal de Florianópolis, à qual pertence a escola onde se desenvolveu o TRANSARTE II

This thesis takes the form of qualitative action probe and examines specific aspects of the work of selected pupils with SLD in interdisciplinary linking of art and language education with an emphasis on reaching goals evenly in both areas. The results of the research, which was carried out by observation and semi-structured interviews with pupils and teachers, are analyzed and crystallize into concrete suggestions of streamlining individual aspects of this method for even greater efficiency of separate steps in learning new skills to students with learning disabilities. In the theoretical part I introduce educational methods of synergic development of visual and linguistic imagination. It is primarily CLIL (Content and Language Integrated Learning), which represents an innovative tendencies in integrating English and another non-language subject (in this case Art) and a multisensory approach. I also specify the fundamental principles of the educational process in an interdisciplinary connections of art and English for pupils with learning disabilities, such as Gardner's theory of multiple intelligences, respecting individual learning styles of students, focusing on multimodal teaching principles and methods applicable to Hejný model of inclusive education of Art and English. I also describe the...

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