The purpose of this study was to implement and assess a curriculum on African and African-American art and artists appropriate for elementary school children in a multicultural urban setting in the northeastern part of the United States. The program involved 145 students in a curriculum that includes biographical sketches, slide presentations, studio visits to prominent artists, and hands-on activities. The students were in grades three, four and five. The students learned the three eras of African-American art: the Apprentice, the Journeyman, and the Harlem Renaissance. They also studied the art of Egypt in the time of King Tutankhamen, as well as that of Nubia. More recent African art, including the artifacts of the Dogon people and the thumb painting of the Ndebele women, exposed the children to techniques and designs they could copy. The effects of the program were qualitatively evaluated through a pre-test and post-test administered to these classes. Two sets of open-ended questions were used to assess changes in the children's understanding. The students' perceptions of themselves as artists and their awareness and appreciation of art in their communities were also important components of this program. The program had an impact on the children and can become a segment in the elementary art curriculum guide. At present, there is none included in the guide representing the art of Africans and African-Americans.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

This critical qualitative study explores the art education curriculum's role in promoting peace in Saudi Arabia. The purpose of this research was to make possible a deeper understanding of the elements of peace in the curriculum through a critical content analysis of art textbooks for teachers and students and semi-structured interviews with art education teachers. The theoretical framework is based on the principles of critical pedagogy advocated by Paulo Freire. The results uncovered ways in which art activities foster critical thinking, collaboration, empathy, an attitude in favor of coexistence, and tolerance of diversity, thereby contributing to students' social and emotional skills development. Additionally, this study revealed some aspects of the art education curriculum in Saudi Arabia that integrated a pedagogical approach consistent with the principles of peace education. The research results underscored the need for greater inclusion of peace aspects in the school curricula, suggesting the potential to create a supportive and empowering educational environment. The study contributes to the broader discourse on integrating the art education curriculum in Saudi Arabia into critical pedagogy and peace education and offers practical insights for educators, curriculum designers, and policymakers.

The Aaron Douglas Collection of works of art in the Amistad Research Center, now at Tulane University, includes works of art little known to scholars of American art. It is a collection of two hundred and seventy examples by black and minority artists, most dating from 1925 to 1954. Fifty-two of this number have been illustrated with several in color. There is no published catalog. Though individual works have been shown in specialized exhibitions, virtually none of this group has been included in standard survey books used in courses teaching American art history. The vitality of these works of art, the message they convey, should be included with the discipline of American art history The Aaron Douglas Collection represents a portion of a larger assemblage made by the Harmon Foundation of New York City. The details of the Collection's history are discussed in Chapter One Chapters Two and Three of this thesis provide a necessary foundation to the appreciation of the artists and their works. Several of these artists have slipped into obscurity. For that reason, background information about their times, the 20s and 30s, will perhaps serve to fill in some of the inherent gaps. Chapter Four gives a basic profile of each artist highlighting, whenever possible, pertinent information about them. The end of each profile contains catalog information for each of their pieces in the Collection / acase@tulane.edu