For years now, students have been learning from two different types of teachers: Teachers who received certification from a traditional training program at a university and teachers who became certified through alternative certification routes. Does the educational preparation of an art teacher matter? Is alternative certification as effectual as traditional teacher preparation programs? Darling- Hammond (2006) says, "Evidence indicates that teachers who have had more preparation for teaching are more confident and successful with students than those who have had little or none." This thesis will examine and analyze alternative teacher certification in art education for the state of Florida, in a selected county in central Florida, and the traditional teacher certification program via a university path. I am choosing to base this study on my own program of study. I am on the path receive a Bachelor's degree through a traditional art education preparation program. This topic will be discussed by conducting a review of literature. Articles from scholars will be cited in order to provide evidence to support the conclusion that art teachers who are traditionally certified are better prepared for the art classroom than art teachers who attained certification via an alternative route. In order to carry out this investigation, an autoethnography will be included, which will include personal experiences, such as going through a traditional art teacher certification program, which is a four year Bachelor's degree in art education and observing art teachers who have completed different types of certification, leading me to the conclusion that traditionally certified art teachers are more prepared.

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2015-05-20T16:57:45Z No. of bitstreams: 1 ANA MARCIA AKAUI MOREIRA.pdf: 2256401 bytes, checksum: 03cee5044b54944433646c02e6fc9a2c (MD5) / Made available in DSpace on 2015-05-20T16:57:45Z (GMT). No. of bitstreams: 1 ANA MARCIA AKAUI MOREIRA.pdf: 2256401 bytes, checksum: 03cee5044b54944433646c02e6fc9a2c (MD5) Previous issue date: 2015-04-23 / There is almost a consensus among Brazilian researchers, that the teaching of Arts in Brazil was transformed by the Triangular Approach, introduced by Ana Mae Barbosa, which led to a new paradigm of work with arts in Education. Thus, supporting the central idea of the development and learning of Art in Dewey, Read, Eisner, Fischer and Arheim, this study aims to investigate how Art teachers, who adopt this approach, understand and build their practices in classroom. A qualitative approach, supported by Bodgan and Bicken, used for data collection, questionnaires and interviews with five Art teachers, experts, and who develop their work in the Junior High School at public schools in Baixada Santista. The organization of work and data analysis was guided in Hermeneutics-dialectic described by Minayo, with the operational support of Content Analysis described by Bardin and Franco. This research seems to show that teachers who use the Triangular Approach, although attempting to develop this proposal, conscious or not, are in a working condition weakened due to the absence of a specific, adequate and continuous education, because they feel at the margin of learning in school education. This work contributed to show how important is to work with Art in the schools and how the school can learn from this discipline. / Há quase um consenso, entre os pesquisadores brasileiros, de que o ensino de Arte, no Brasil, foi transformado pela Abordagem Triangular, introduzida por Ana Mae Barbosa, que conduziu a um novo paradigma de trabalho com a arte na Educação. Assim, fundamentando a ideia central do desenvolvimento e aprendizagem da arte em Dewey, Read, Eisner, Fischer e Arheim, este trabalho tem por objetivo investigar como os professores de Arte, que adotam essa abordagem, entendem e constroem suas práticas em sala de aula. Sob uma abordagem qualitativa, apoiada por Bodgan e Bicken, utilizou, para coleta de dados, questionários e entrevistas com cinco professores de Arte, especialistas, que desenvolvem seus trabalhos no Ensino Fundamental II em escolas públicas da Baixada Santista. O trabalho de organização e análise dos dados coletados orientou-se na Hermenêutica-dialética descrita por Minayo, com o apoio operacional da Análise de Conteúdo descrita por Bardin e Franco. Esta pesquisa parece revelar que os professores que utilizam a Abordagem Triangular, apesar de tentarem desenvolver essa proposta, de forma conscientes ou não, encontram-se em uma condição de trabalho fragilizada em decorrência da falta de uma formação específica, adequada e contínua e, por sentirem-se às margens do aprendizado na educação escolar. Este trabalho contribuiu para mostrar o quanto é importante trabalhar com a Arte dentro da escola, e o quanto a escola pode aprender com essa disciplina.

For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

Made available in DSpace on 2014-12-17T14:36:09Z (GMT). No. of bitstreams: 1 PollyannaJPC_TESE.pdf: 4127326 bytes, checksum: 9300e71053fc8193c29e4b1371484ae3 (MD5) Previous issue date: 2010-05-17 / This investigative tissue is about the formation of identification processes of teachers and pedagogical practice of Art, in Teresina city. This search comprised the sum of the needs presented, agreed upon with the teachers engaged in the process, it was developed through the establishment of interactive environment Loom Team where collaboration and critical reflection were steering actions to promote the understanding of existing connections or relations within the processes of identifications and the pedagogical practice of Art. The tissue is formed by the polyphonic plot of the critical reflection of nine teachers of Art who engaged voluntarily and this investigation of formative nature and a production of knowledge. All these teachers have degree and the course of artistic education and especial qualification in Fine Arts and/or Drawing. The texture, which we denominated Identification Loom: The pedagogical practice of Art as share knowledge is (de) (re) construction of knowledge resulting from the critical reflection, in an environment of collaboration, which may have implications and ethical political attitudes in the pedagogical practice of the group. Within this context, we pose the following question: - How does the pedagogical practice in Art influence and/or be influenced by the identification processes of the teachers, and how do they interfere with the search and manifestation of the knowledge involved and the investment in professionalization? In view of this query, we make use of the cooperative investigation, having social history as theoretical reference and as analytic perspective of interactive and dialogical-reflexive processes. Thus, social historic theory, cooperative approach and pedagogical practice were the major components of the plot. The methodological texture counted on the threads of dialogical reflexion, of mediation and of collaboration. The conceptual formulation, the recording in videos of classes and the narratives of formations were the main threads of the analytic substrate of the investigation. With this articulation, theses threads appear as developers of processes leading to a major approximation of the thought on the identity/alterity dialectical pair of the participants involved. The language within this plot had a decisive importance in all the moments of the search of signification, embracing and connecting the identification/alterative processes, the pedagogical practice of Art and the knowledge shared. In such processes involving (de) (re) construction, one can notice a close correlation of the triad social identity, pedagogical practice and knowledge shared. For this reason, the vigotskian, guetmanovian and kopnian theoretizations were the major framework for the analysis of conceptual formulations; and, as for discourse analysis, Baktin and Orlandi were our masters. For these teachers, the experience shared throughout the process of this typology of tri-axial investigation focused the experience of many theoretical and practical assumptions. Such an experience enabled them to state that this, with collaboration, can make reflection on the practice a starting and promoting element, within the individual level of self-management, in addition to being a space of (de)(re)construction of meanings, of knowledge and of reinvention per se / Este tecido investigativo trata da forma??o dos processos identit?rios de professores e da pr?tica docente em Arte da cidade de Teresina-PI. A busca ou novelo consistiu na somat?ria das necessidades apresentadas, negociadas entre os professores implicados no processo, e desenvolveu-se atrav?s do estabelecimento de ambiente interativo a Equipe Tear no qual a colabora??o e a reflex?o cr?tica foram a??es motrizes, para promover a compreens?o dos v?nculos ou rela??es existentes entre os processos identit?rios e a pr?tica docente em Arte. O tecido ? formado pela trama polif?nica da reflex?o cr?tica de nove professores de Arte, de Teresina-PI, que se implicaram volitivamente nessa investiga??o de cunho formativo e de produ??o de conhecimento. Todos esses professores s?o licenciados pelo curso de Educa??o Art?stica, e det?m habilita??o em Artes Pl?sticas e/ou Desenho. A textura, por n?s denominada de Tear identit?rio: a pr?tica docente em Arte como conhecimento compartilhado , ? (des)(re)constru??o de conhecimento, derivado da reflex?o cr?tica, em ambiente de colabora??o, que pode ter implica??es na assun??o de atitudes ?tico-pol?ticas na pr?tica docente desse contingente. Nesse fluxo, apresentamos a quest?o: Como a pr?tica docente em Arte influencia e/ou ? influenciada pelos processos identit?rios dos professores, e como esses interferem na busca e manifesta??o dos saberes envolvidos e investimento na profissionaliza??o? Diante desta indaga??o, valemo-nos da Investiga??o Colaborativa, tendo a sociohist?ria como referencial te?rico e como perspectiva anal?tica dos processos interativos e dial?gico-reflexivos. Assim, a teoria sociohist?rica, a abordagem colaborativa e a pr?tica docente foram os principais componentes da urdidura. A trama metodol?gica contou com os fios da reflex?o dial?gica, da media??o e da colabora??o. A formula??o conceitual, os videorregistros de aula e as narrativas de forma??o constitu?ram os principais fios do substrato anal?tico da investiga??o. A partir dessa articula??o, esses fios surgem como desveladores dos processos que conduzem a uma maior aproxima??o do pensamento sobre o par dial?tico identidade/alteridade dos part?cipes envolvidos. A linguagem, nessa trama, teve import?ncia essencial, em todos os momentos da busca de significado, enla?ando e conectando os processos identit?rios/alterit?rios, a pr?tica docente em Arte e os conhecimentos compartilhados. Em tais processos que envolvem (des)(re)constru??es, pudemos observar uma estreita correla??o da tr?ade identidade social, pr?ticas docentes e conhecimento compartilhado. Nesse sentido, as teoriza??es vigotskianas, guetmanovianas e kopninanas compuseram os principais suportes para a an?lise das formula??es conceituais; e, no que tange ? an?lise do discurso, Bakhtin e Orlandi foram nossos lentes. Para esses professores, a experi?ncia partilhada, ao longo do processo dessa tipologia de investiga??o triaxial, centrou-se na viv?ncia de muitos de seus pressupostos te?ricos e pr?ticos. Tal viv?ncia possibilitou-lhes afirmar que essa, sob a ?gide da colabora??o, pode fazer com que a reflex?o sobre a pr?tica seja desencadeadora e promotora, na esfera individual, da autogest?o, al?m de constituir-se em espa?o de (des)(re)constru??o de significados, de conhecimento e de reinven??o de si