Art has had a place in the general education of American children for seven decades. Many of us have had some experience in this connection both as a child and as an adult observer. It can be seen that new values have developed in a process of educational change. / Advisor: Mary Mooty, Professor Directing Paper. / Typescript. / "August, 1957." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Includes bibliographical references (leaves 37-38).

Inspired by writings on creativity and by Howard Gardner's theory of multiple intelligences, I conducted a series of ten "exercises" -- each of them a guided visualization followed by an opportunity to produce -- with nine- and ten-year-old students. The visualizations, which were designed to encourage the students to explore some of the many ways our minds have of knowing and learning, began with a simple relaxation exercise and proceeded to more challenging exercises involving, for instance, kinesthetic learning, sensory awareness, the logical and linguistic mind versus the spatial mind, and intra- and interpersonal intelligence. Following each visualization the students discussed what they had experienced (transcripts of the visualizations and the discussions are included in the thesis). The students responded in visual terms as well: after each visualization, each student created a two- or three-dimensional piece of art from materials such as matboard, construction and origami paper, glue, felt-tip pens, pipe cleaners, and plastic-coated wire. These visual responses have been photographed, described, and scored according to the number of materials used, the number of colors used, and the dimensionality of the piece (photos, descriptions, and scores are included in the "Gallery". I found, surprisingly, that the visualizations in which the students were the most imaginatively engaged did not always produce the most interesting art, and that girls were much less likely than boys to create three-dimensional pieces, although girls tended to use more colors and occasionally used relief on otherwise two-dimensional pieces. / Master of Architecture

A presente tese tem como objetivo geral investigar, a partir de uma perspectiva sócio-histórica, 367 trabalhos artísticos produzidos por 26 crianças, nascidas entre 1926 e 1938, que estiveram confinadas no campo de concentração nazista de Terezín, na República Checa, durante a Segunda Guerra Mundial, visando levantar outras informações sobre o universo concentracionário, perdidas, esquecidas ou não tocadas pelos sobreviventes. Objetiva também investigar como contextos violentos foram assimilados por essas crianças e quais estratégias simbólicas e narrativas elas desenvolveram para tematizá-los por meio da arte. Busca estabelecer diálogo entre sua produção e as concepções estéticas e pedagógicas promovidas pela Arte Moderna, pelo Movimento Escola Nova, tendências em voga no período de pré-ocupação nazista, e por Friedl Dicker-Brandeis, professora que orientou os trabalhos no campo. Os procedimentos metodológicos adotados na realização da pesquisa foram seleção e leitura de fontes escritas e análise de fontes de outras naturezas, como entrevistas, filmes e documentários. Partimos da hipótese de que esses desenhos possuem teor e valor testemunhal, sendo um outro testemunho do Holocausto, um registro poético pautado na percepção da criança sobre os eventos e em sua forma muito particular de expressá-los. Partimos também do princípio de que esses trabalhos artísticos expressam as imagens de seus pensamentos, seus medos, lembranças, sonhos e esperanças. A análise se pautou na bibliografia de autores que se dedicaram a compreender como e por que a criança desenha, e que desenvolveram suas teorias no contexto da Arte Moderna, do Movimento Escola Nova e da contemporaneidade. A análise do corpus da pesquisa indicou a presença exígua de trabalhos com temas ligados a eventos insistentemente citados pelos sobreviventes ou registrados em seus diários. Por outro lado, indicou a existência de um grupo considerável de trabalhos pautados em memórias anteriores à guerra e de outros dois grupos que têm como tema o campo de Terezín. O primeiro apresenta formas mais simbólicas e subjetivas para figurar a experiência concentracionária, que perpassam lugares, pessoas, cenas observadas e diferentes modos de representação do campo. O segundo grupo apresenta um viés mais objetivo, representacional, ligado à transmissão da experiência assimilada prioritariamente pelo sentido da visão. Notamos também que representações do campo de Terezín não aparecem nos desenhos das crianças nascidas entre 1933 e 1938. Os resultados, de modo geral, ampliam nossa compreensão sobre os eventos e demonstram a contribuição da arte infantil para a construção de outras narrativas sobre o universo concentracionário. / This thesis has as main objective to investigate, from a socio-historical perspective, 367 artworks produced by 26 children, born between 1926 and 1938, which were confined at Terezín, a Nazi concentration camp, in the Czech Republic, during the Second World War, aiming to raise other information about the concentrationary universe, lost, forgotten or not touched by the survivors. It also aims to investigate how violent contexts were assimilated by these children and what symbolic and narrative strategies they have developed to thematize it through art. Seeks to establish dialogue between its production and the aesthetic and pedagogical concepts promoted by Modern Art, the New School Movement, trends in vogue in the Nazi pre-occupation period, and by Friedl Dicker- Brandeis, teacher who had supervised the artistic work in camp. The methodological procedures used in conducting the research were selection and reading of written sources and analyzing sources of other types, such as interviews, movies and documentaries. Our hypothesis is that these drawings have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child\'s perception of the events and in his very particular way of expressing them. Also we assume that these artworks express the images of their thoughts, their fears, memories, hopes and dreams. The analysis was guided on the literature of authors who have dedicated themselves to understand how and why the child draws, and that developed theirs theories in the context of Modern Art, the New School Movement and the contemporary. The analysis of the research corpus indicated the meager presence of works with themes related to events repeatedly cited by survivors or recorded in their daily books. On the other hand, indicated the existence of a considerable group of work guided by memories of earlier the war and other two groups which have as subject the Terezín camp. The first presents more symbolic and subjective forms to figure the concentrationary experience that underlie places, people, observed scenes and different modes of representation of the field. The latter group presents a more objective bias, representational, connected to transmission of the experiment assimilated by the sense of sight. We also note that representations of Terezín camp does not appear in the drawings of children born between 1933 and 1938. The results, in general, expand our understanding of the events and demonstrate the contribution of child art for building other narratives about the concentrationary universe.

A presente tese tem como objetivo geral investigar, a partir de uma perspectiva sócio-histórica, 367 trabalhos artísticos produzidos por 26 crianças, nascidas entre 1926 e 1938, que estiveram confinadas no campo de concentração nazista de Terezín, na República Checa, durante a Segunda Guerra Mundial, visando levantar outras informações sobre o universo concentracionário, perdidas, esquecidas ou não tocadas pelos sobreviventes. Objetiva também investigar como contextos violentos foram assimilados por essas crianças e quais estratégias simbólicas e narrativas elas desenvolveram para tematizá-los por meio da arte. Busca estabelecer diálogo entre sua produção e as concepções estéticas e pedagógicas promovidas pela Arte Moderna, pelo Movimento Escola Nova, tendências em voga no período de pré-ocupação nazista, e por Friedl Dicker-Brandeis, professora que orientou os trabalhos no campo. Os procedimentos metodológicos adotados na realização da pesquisa foram seleção e leitura de fontes escritas e análise de fontes de outras naturezas, como entrevistas, filmes e documentários. Partimos da hipótese de que esses desenhos possuem teor e valor testemunhal, sendo um outro testemunho do Holocausto, um registro poético pautado na percepção da criança sobre os eventos e em sua forma muito particular de expressá-los. Partimos também do princípio de que esses trabalhos artísticos expressam as imagens de seus pensamentos, seus medos, lembranças, sonhos e esperanças. A análise se pautou na bibliografia de autores que se dedicaram a compreender como e por que a criança desenha, e que desenvolveram suas teorias no contexto da Arte Moderna, do Movimento Escola Nova e da contemporaneidade. A análise do corpus da pesquisa indicou a presença exígua de trabalhos com temas ligados a eventos insistentemente citados pelos sobreviventes ou registrados em seus diários. Por outro lado, indicou a existência de um grupo considerável de trabalhos pautados em memórias anteriores à guerra e de outros dois grupos que têm como tema o campo de Terezín. O primeiro apresenta formas mais simbólicas e subjetivas para figurar a experiência concentracionária, que perpassam lugares, pessoas, cenas observadas e diferentes modos de representação do campo. O segundo grupo apresenta um viés mais objetivo, representacional, ligado à transmissão da experiência assimilada prioritariamente pelo sentido da visão. Notamos também que representações do campo de Terezín não aparecem nos desenhos das crianças nascidas entre 1933 e 1938. Os resultados, de modo geral, ampliam nossa compreensão sobre os eventos e demonstram a contribuição da arte infantil para a construção de outras narrativas sobre o universo concentracionário. / This thesis has as main objective to investigate, from a socio-historical perspective, 367 artworks produced by 26 children, born between 1926 and 1938, which were confined at Terezín, a Nazi concentration camp, in the Czech Republic, during the Second World War, aiming to raise other information about the concentrationary universe, lost, forgotten or not touched by the survivors. It also aims to investigate how violent contexts were assimilated by these children and what symbolic and narrative strategies they have developed to thematize it through art. Seeks to establish dialogue between its production and the aesthetic and pedagogical concepts promoted by Modern Art, the New School Movement, trends in vogue in the Nazi pre-occupation period, and by Friedl Dicker- Brandeis, teacher who had supervised the artistic work in camp. The methodological procedures used in conducting the research were selection and reading of written sources and analyzing sources of other types, such as interviews, movies and documentaries. Our hypothesis is that these drawings have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child\'s perception of the events and in his very particular way of expressing them. Also we assume that these artworks express the images of their thoughts, their fears, memories, hopes and dreams. The analysis was guided on the literature of authors who have dedicated themselves to understand how and why the child draws, and that developed theirs theories in the context of Modern Art, the New School Movement and the contemporary. The analysis of the research corpus indicated the meager presence of works with themes related to events repeatedly cited by survivors or recorded in their daily books. On the other hand, indicated the existence of a considerable group of work guided by memories of earlier the war and other two groups which have as subject the Terezín camp. The first presents more symbolic and subjective forms to figure the concentrationary experience that underlie places, people, observed scenes and different modes of representation of the field. The latter group presents a more objective bias, representational, connected to transmission of the experiment assimilated by the sense of sight. We also note that representations of Terezín camp does not appear in the drawings of children born between 1933 and 1938. The results, in general, expand our understanding of the events and demonstrate the contribution of child art for building other narratives about the concentrationary universe.

Thesis (Ph.D.)--Edith Cowan University, 2006. / Submitted to the Faculty of Community Services, Education and Social Sciences. Includes bibliographical references.

Thesis (M. Phil.) -- Australian Catholic University, 2005. / Submitted in fulfillment of the requirements of the degree of Master of Philosophy. Bibliography: p. [118]-128. Also available in an electronic format via the internet.

Orientador: Joao Cardoso Palma Filho / Banca: Katya Maria Ayres de Godoy / Banca: Norinês Panicacci Bahia / Resumo: O presente trabalho dedicou-se a investigar Arte na Infância como objeto a ser desvelado na questão proposta para esta pesquisa, quais as representações sociais e concepções dos professores sobre arte na infância e as implicações destas sobre a Educação Infantil. A pesquisa foi realizada com professoras de Centro de Educação Infantil na cidade de São Paulo. Utilizamos a metodologia de pesquisa de representação social com enfoque qualiquantitativo e aprofundamos as análises dos discursos dos professores em grupo focal. A criança, nesta pesquisa, é entendida como ser sócio, histórico e cultural, protagonista da construção de seu conhecimento e Arte concebida como produto de uma cultura e um período histórico. As concepções ou representações das professoras sobre Arte na Infância se constituem nas categorias materiais; manifestações culturais; atitudes e potencialidades. Os principais teóricos dessa pesquisa Bordieu e Passeron (2011); Lefevre e Lefreve (2012); Malaguzzi (1999); Moscovici (1978) e Jodelet (1989). Por meio desta pesquisa, observamos que os professores reconhecem a importância da Arte na Infância, porém têm dúvidas em relação à condução das atividades com bebês e crianças. Além disso, ressaltam a exploração de novos materiais, curiosidade e a espontaneidade das crianças. Reconhecem também que Arte compõe o repertório teórico dos documentos oficiais e suas concepções e representações relacionam-se aos materiais; às manifestações culturais; às atitudes e às potencial... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work investigated Art in Childhood as an object to be unveiled in the proposed question for this research, what are the teachers' social representations and conceptions on Art in Childhood and their implications on Child Education? The research was fulfilled with teachers of a Child Education Center in São Paulo city. We used a social representation research methodology with quali-quantitative focus and we deepened the analysis of the teachers' speeches in focal group. Child, in this work, is understood as a social, historical and cultural human being, protagonista of his own knowledge, and Art is designed as a product of a culture and a historical period. The most important theorists of this research are Bordieu and Passeron (2011); Lefevre and Lefreve (2012); Malaguzzi (1999); Moscovici (1978) and Jodelet (1989). By means of this research, we observed that teachers recognize the importance of Art in Childhood, but they have doubts in relation to how to conduct de activities with babies and children. Besides that, they emphasize new material exploration, children curiosity and spontaneity. They also recognize that Art composes the oficial documents theoretical repertory and their conceptions and representations are related to materials; cultural manifestations; children atitudes and children potentialities. Lastly, this research revealed the displacements that are being promoted in this contemporaneity in relation to the conception of child. This work intends to unveil tracks that could show routes to guide teachers in the referrals of artistical doings with babies and children from the Child Education Center / Mestre

The re-curated Canadian History Hall (CHH) opened at the Canadian Museum of History (CMH) in Gatineau, Québec, on July 1st, 2017, becoming the first Canadian national narrative to exhibit the history, experiences, and aftermath of Canada’s genocidal Indian Residential School (IRS) system. Through interviews and participant observation, this case study considers experiences of CHH curatorial engagements between Alberni IRS Survivors and museum professionals. Their experiences illustrate practical challenges, structural limitations, and complementary interests of Western museums and Indigenous source communities attempting to collaboratively curate difficult history. Despite having limited capacities for indigenization or decolonization, this thesis demonstrates that museums like the CMH can be complicated but beneficial partners for some Indigenous source communities and their anti-colonial engagements with Canadian society. / Graduate

Master thesis on the topic Characterization of artistic expression of Kenyan pupils is composed of theoretical and empirical part. The theoretical part is focused on cultural, social and political arrangement in Kenya and brief characterization of chosen ethnics related to their historic and cultural context. Important part of the thesis is dedicated to contemporary and also to the traditional Kenyan art. The goal of the theoretical part is to clarify Kenyan educational system focused on art education. Empirical part is focused on actual artistic expression of Kenyan pupils and describes the process of in advance prepared lectures of art in elementary schools in set areas. Part of the thesis is also image documentation.

Svobodová, M.: Jewellery and its place in Art Education at elementary school/ graduation thesis / Prague 2011 / Charles University in Prague, faculty of Education - department of Art Education, p. 103 The theoretical background of this diploma thesis describes a brief history and development of the jewellery from the prehistoric times to the present days. It focuses mainly on the new history of production and jewellery design and tries to watch up the origin of author's jewel, mainly the trend of the non-traditional materials creation. In today's production, it presents a few alternative Czech designers and their work. Two creative successions that were realized with elementary school children are presented in didactical part. The last, creative section of the thesis presents author's own piece of work.