Combining artistic practice with teaching is not unusual for teachers in the visual arts. A dual professional practice, which can be found throughout the field of art education with art teachers in all levels of education, requires a negotiation of roles and positions on a personal level and has impact on pedagogy. However, the binary opposition of artist versus teacher fails to comprise the diversity of practices where art making and teaching are combined. Not only does identification with artist or teacher vary, so does the extent to which the two disciplines are fused, to the point where it can be called a hybrid practice when the distinction between art and teaching is no longer relevant. The democratic nature of contemporary visual art making further problematises a singular model of artist teacher practice. In order to do justice to the personal strategies artist teachers employ in balancing their dual professional roles, this thesis proposes a multifaceted concept of artist teacher practice. In this thesis, the notion of hybridity and diversity in artist teacher practice and the implications for democratic models of teaching and learning is subject to both theoretical, empirical, and artistic inquiry. The employment of different lenses enables a multi-layered approach to a complex practice. By focusing on the knowledge incorporated in the practice of two Dutch artist teachers this thesis informs how artist teacher practice relates to models of democratic teaching and learning. The miniature dioramas visually explore my own perception of democratic learning spaces and add an extra auto-ethnographic layer of understanding to artist teacher pedagogy. Central in this thesis is the notion of a pedagogical thirdspace. A spatial representation of social realities helps to create a critical understanding of human life. A thirdspace is a place in the margins between reality and ideals (Soja, 1999). When binary models of understanding are exchanged for real-life knowledge of the pedagogical practice of artist teachers an ambiguous open space emerges, where there is room for experiential learning, uncertainty, risk-taking, care, equality, inclusion, tacit experience, sensitivity, play, flexibility, and conflict. The engaged pedagogy (hooks, 1994) of artist teachers emancipates learners because of the fact that the duality of the artist teacher invites learners to join in a democratic, living model of artistic practice.

The research aims to investigate the responses of teachers and learners in a particular rural context to a chapter from a South African English First Additional Language textbook which is currently being developed for commercial publication. The activities and content of the chapter aim to encourage learners to think critically about power relations in teenage relationships. The material was used in two classes of Grade 11 English learners by two English teachers from the same school. Data from classroom observations, from learners’ writing and from interviews with teachers and learners was analysed in order to respond to a series of questions which focus on teachers’ and learners’ responses to a theme which was assumed to be a sensitive and controversial one and responses to the design features of the material. Firstly, the theme appeared not to be considered sensitive or controversial by either teachers or learners. Secondly, the teachers ignored almost completely the pedagogic design of the materials and in doing so negatively affected opportunities for learners to learn. Possible explanations for both findings are discussed.

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2015-04-24T19:31:20Z No. of bitstreams: 1 Thais Moura de Oliveira Salgado.pdf: 1434113 bytes, checksum: c5849c68b8089f00fcedba1ea228d688 (MD5) / Made available in DSpace on 2015-04-24T19:31:20Z (GMT). No. of bitstreams: 1 Thais Moura de Oliveira Salgado.pdf: 1434113 bytes, checksum: c5849c68b8089f00fcedba1ea228d688 (MD5) Previous issue date: 2013-11-25 / This paper intends to discuss perceptions/social representations of the teachers-students of Pedagogy/Parfor about teaching music. Starts from the premise that the knowledge acquired in the area of training and performance of these subjects can make the process of teaching and learning significant. Regarding, in this case, the teaching of music, which, from the Law 11.769/08 (BRAZIL, 2008), became mandatory content in the curriculum. The research is based on Moscovici (1978), insofar as his theory of social representations (TRS) contributes to the analysis of the collected data, namely, to support the perceptions /social representations of these subjects about teaching music. Also, authors like Brito (2003), Bastian (2010), among others, gave support to the questions surrounding the teaching of music. And authors like Nóvoa (1992), Abdalla (2006, 2008, 2009) and Tardif (2012) contribute to support the analysis of data relevant to teacher training. Regarding methodological procedures, the research was done in three stages. The first was a questionnaire to 43 research subjects with closed questions, open and evocation next to the greater integrated project to the International Social Representations - CIERS-Ed/FCC; noting, however, that this study only data were considered profile of these subjects. Second, we conducted a Focal Group with eight (8) teachers-students, and, in the third phase, semi-structured interviews were conducted with four (4) participants of the previous phases, going deep into the theme in question. We pointed the analysis¿s dimensions: historical-normative, as it took into account the teaching of music in the context of the history of Brazilian education and the implementation of Parfor;-professional- training in the pedagogical training in music and teaching music of the teachers-students reveal their perceptions / social representations about teaching music. The results point to difficulties in the training of these teachers-students in Pedagogy/Parfor related to the teaching music, and, consequently, to the difficulties of being developed more elaborate musical activities in their workplaces. The music is introduced into the work environment of teachers-students through musical activities incorporated in the playtime. The ludic contributes, according to these research subjects, for the children¿s musical development. / Este trabalho pretende refletir sobre as percepções e/ou representações sociais das professoras-estudantes da Pedagogia/Parfor sobre o ensino de Música. Parte-se do pressuposto de que o conhecimento que se adquire no campo da formação e da atuação destes sujeitos, pode tornar significativo o processo de ensino e aprendizagem. Trata-se, neste caso, do ensino de Música, que, a partir da Lei 11.769/08 (BRASIL, 2008), tornou-se conteúdo obrigatório no currículo. A pesquisa se fundamenta em Moscovici (1978), na medida em que sua teoria das representações sociais (TRS) contribui para a análise dos dados coletados, ou seja, para fundamentar as percepções/representações destes sujeitos sobre o ensino de Música. Também, autores como Brito (2003), Bastian (2010), entre outros, deram suporte às questões em torno do ensino de Música. E autores como Nóvoa (1992), Abdalla (2006; 2008; 2009) e Tardif (2012) contribuem para fundamentar a análise dos dados pertinentes à formação de professores. Em relação aos procedimentos metodológicos, a pesquisa se desenvolveu em três etapas. Na primeira foi aplicado um questionário para 43 sujeitos da pesquisa, com questões fechadas, abertas e de evocação junto ao projeto maior integrado ao Centro Internacional de Representações Sociais ¿ CIERS-Ed/FCC; observando-se, porém, que, nesta pesquisa, só foram considerados os dados de perfil destes sujeitos. Na segunda, foi realizado um Grupo Focal com oito (8) professoras-estudantes; e, na terceira fase, foram realizadas entrevistas semiestruturadas com quatro (4) participantes das fases anteriores, aprofundando-se a temática em questão. Apontamos as dimensões de análise: histórico-normativa, em que se levou em conta o ensino de Música no contexto de história da educação brasileira e a implementação do Parfor; formativo-profissional, em que a formação pedagógica em Música e a didática musical das professoras-estudantes nos revelam suas percepções/representações sociais sobre o ensino de Música. Os resultados apontam para as dificuldades na formação destas professoras-estudantes na Pedagogia/Parfor referentes ao ensino de Música, e, consequentemente, para as dificuldades de serem desenvolvidas atividades musicais mais elaboradas em seus ambientes de trabalho. A Música é introduzida no ambiente de trabalho das professoras¿estudantes por meio de atividades musicais incorporadas às brincadeiras. O lúdico, assim, contribui, segundo estes sujeitos de pesquisa, para o desenvolvimento musical das crianças.

The purpose of this qualitative research study, which utilizes a phenomenological inquiry method, is to inquire into the awareness of what it means to be a whole teacher from the perspective of the philosophy of Jiddu Krishnamurti, a philosopher/spiritual teacher. Four participants (teachers) were interviewed from the Oak Grove School, an alternative, holistic school founded by Krishnamurti in 1974. This inquiry probed into teachers’ thinking, teachers’ lives, teachers’ inner lives, teachers’ contemplative practices, teachers’ calling/vocation and teachers’ pedagogy. The findings of this inquiry reveal the awareness that exists among the participants with regards to their understanding of Krishnamurti’s educational philosophy and the way in which this philosophy has shaped their lives and the lives of their students (both implicit- ly and explicitly) The findings from this research further show that Krishnamurti’s philosophy has certainly had an impact on the participants’ wholeness. Krishnamurti was never interested in imposing his philosophy on the teachers to think in a narrow groove. Rather, he challenged them to arrive at wholeness or a holistic approach towards living by their own volition, by putting aside all philosophy, including his own. This research points towards the possible ways in which wholeness can be developed using: Innate wisdom (teachers’ inner life, teachers’ calling); wisdom gained through experiencing life (teachers’ life, teachers’ thinking); wisdom gained through their teaching experience (teachers’ pedagogy) and wisdom gained through practices that bring harmony to the mind, body and spirit (teachers’ contemplative approaches). An experiential model titled, The Flower Model: An Experiential Metaphor – which integrates the three stages of awareness – was developed using Krishnamurti’s approach towards wholeness. This model can be used to guide teachers with their respective psychological conditionings that reside or exist in their thinking, lives, inner lives, contemplative practices, vocation and pedagogy/curriculum design.

The purpose of this qualitative research study, which utilizes a phenomenological inquiry method, is to inquire into the awareness of what it means to be a whole teacher from the perspective of the philosophy of Jiddu Krishnamurti, a philosopher/spiritual teacher. Four participants (teachers) were interviewed from the Oak Grove School, an alternative, holistic school founded by Krishnamurti in 1974. This inquiry probed into teachers’ thinking, teachers’ lives, teachers’ inner lives, teachers’ contemplative practices, teachers’ calling/vocation and teachers’ pedagogy. The findings of this inquiry reveal the awareness that exists among the participants with regards to their understanding of Krishnamurti’s educational philosophy and the way in which this philosophy has shaped their lives and the lives of their students (both implicit- ly and explicitly) The findings from this research further show that Krishnamurti’s philosophy has certainly had an impact on the participants’ wholeness. Krishnamurti was never interested in imposing his philosophy on the teachers to think in a narrow groove. Rather, he challenged them to arrive at wholeness or a holistic approach towards living by their own volition, by putting aside all philosophy, including his own. This research points towards the possible ways in which wholeness can be developed using: Innate wisdom (teachers’ inner life, teachers’ calling); wisdom gained through experiencing life (teachers’ life, teachers’ thinking); wisdom gained through their teaching experience (teachers’ pedagogy) and wisdom gained through practices that bring harmony to the mind, body and spirit (teachers’ contemplative approaches). An experiential model titled, The Flower Model: An Experiential Metaphor – which integrates the three stages of awareness – was developed using Krishnamurti’s approach towards wholeness. This model can be used to guide teachers with their respective psychological conditionings that reside or exist in their thinking, lives, inner lives, contemplative practices, vocation and pedagogy/curriculum design.