Vår kunskapsöversikt fokuserar på att besvara frågan: hur kan lärare arbeta med färglärai bildundervisningen, för att öka elevers kunskap om färglära? Kunskapsöversikteninnefattar också att beskriva definitionen av färglära och hur färglära är relevant ibildundervisningen. Syftet med vår kunskapsöversikt är att presentera olikaundervisningsmodeller som innefattar färglära och vidare diskutera omundervisningsmodellerna fungerar för bildundervisningen, eller inte. För att finnarelevanta undervisningsmodeller för vår frågeställning, använder vi oss avlitteraturöversikt som metod. I sökandet efter relevanta undervisningsmodeller, märktevi att det fanns en brist på forskning kring framtagna modeller för färglära ibildundervisningen. Resultatet blev därför att vi fann några undervisningsmodeller somfungerar för vår frågeställning och några fungerar till viss del. Ett parundervisningsmodeller fungerar inte alls, men dessa undervisningsmodeller visar dockpotential för ett vidare arbete i färgundervisning och är därför med i vårkunskapsöversikt.

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This study explored how a teacher-training course helped secondary art student teachers in Taiwan to develop their perceptions and practice of creativity and creative pedagogy [CPed]. A series of CPed workshop sessions, based on the Western theoretical framework of possibility thinking [PT] and its pedagogy [PTCPed], were designed to introduce to the twelve secondary art teacher training students in an arts university in Taiwan. Through adopting an action-based case study approach, qualitative data were collected from the participants’ interviews together with the reflective documents of the participants and the researcher, and any possible visual materials. Observations were also video-recorded. The analytical methods focused on both inductive and deductive approaches to explore how student teachers developed their perceptions of creativity and CPed and the possible influences in practice. Adopting the idea of “contextualising” one set of cultural values in another, a new landmark of PTCPed emerged. This study confirmed most features of PT, but found question-posing and question-responding to be intriguingly absent in the participants’ definitions of creativity (PT) and their practice of CPed; and it also, significantly, identified several emerging PT characteristics and attitudes: originality, confidence, no limitations, and problem-solving. These features were fostered by teacher’s creative teaching [CT] and learners’ creative learning [CL] in an enabling and effective context in which teachers offered the learners’ opportunities (including time, space and challenges) to develop ideas and confidence to play with the materials, prioritised learners’ agency (including individual and group activities), and stood back to offer freedom, and at the same time moved step forward to observe the learners’ engagement and check when to offer help. Finally, this study also highlighted the implications for the practice in the Taiwanese initial art teacher education [IATE], in which teacher educators are suggested to appreciate this complexity, and to understand and allow student teachers to interact with different perspectives or approaches when interpreting their pedagogy through reflective practice.

Research Doctorate - Doctor of Philosophy (PhD) / Visual Art education, in an increasingly globalized visual world, is gaining significance for its contribution to the intuitive, critical and creative aspects of student learning and meaning-making. This awareness is foregrounded by a realization that tomorrow’s world will be increasingly dominated by the triumph of the image, multi-modal practices, technologies and visual culture. In this context, the development of an ethico-aesthetic disposition through visual contemporary communicative capacities might be regarded as essential to modern meaning-making. The research seeks to reveal the impact of studying Visual Art for the adolescent student and its value to them in terms of its contribution to their personal, social and cultural understandings beyond the classroom. This research represents a qualitative examination of a post-compulsory Visual Art curriculum in New South Wales, Australia that has shifted from a modernist perspective to a conceptual framework informed by contemporary art practices and by a Habermasian theory of communicative knowing. The research presents its findings in the form of, first a meta-analysis of a longitudinal study of the ARTEXPRESS exhibition spanning 15 years of student learning outcomes from the Visual Art curriculum and, second, a case study of 7 students who reflect on the value of the Visual Art learning to them beyond school. The study employs a critical hermeneutic phenomenological methodology, using image and text analysis as data. The methodology bridges traditional educational research methods with Visual Art practices by employing arts-inquiry as a qualitative research method. It uses the montage as a visual communicative platform informed by narrative perspectives to present the results. In the 21st century, educators, together with the entire world community, are growing in consciousness of the arts as a significant player in developing the attributes and skills that citizens will require in order to be effective participants of tomorrow’s rapidly evolving world. The public welfare benefits that accrue from the arts' intrinsic values are increasingly being seen to constitute a central role in generating wider benefits (McCarthy, Ondaatje, Zakaris & Brooks, 2004; National Review of Visual Education, 2006). Through analysis of ARTEXPRESS student artworks, reflective journals and interviews, the research identified that the skill of visual communicative proficiency links explicitly to the performative act as it emerges from each student’s desire and affectivity. In turn, this act is demonstrated to be beyond the knowledge of Visual Art cultural practices, being shaped by critique and power relationships in society. Self-portrait as narrative and subjectivity production were seen by the students as legitimate means of communicating meaning about self and other. The understanding of the logic of the relationships between visual technical activity, embodied material processes and conceptual understandings as contemporary communicative practices was valued by students and parents for its capacity to mediate societal and cultural values, as well as ethical practice and citizenship. Visual and performative communicative practice links identity, image and meaning. In this study these practices supported self-agency and the creative development of multiple, reflective returns. Visual artmaking is presented as supporting the development of creative possibilities. In turn, an understanding of the endless ways in which imaging and communicating can represent self, truth, reality and existence benefit the individual and society quite beyond the bounds of the traditional classroom.

Syftet med denna studie är att med hjälp av en kvalitativ intervjustudie ta reda påvilka kunskaper som undervisning i bildämnet ger eleverna, vilken betydelseämnet har i skolan och för elevernas framtid. Studiens frågeställningar som blirbesvarade är varför man undervisar i bild och vilka praktiska respektive kognitivafärdigheter eleverna får möjlighet att utveckla inom bildämnet. Den tidigareforskningen fokuseras på synen av bildämnet, dess roll i barns och ungasutbildning, samt de färdigheter bildämnet kan bidra till att utvecklas hos eleven. Imetodavsnittet redogörs för studiens kvalitativa studie som baseras på tresemistrukturerade intervjuer, urvalet och studiens genomförande samt att studiensbearbetning av empiriskt material och analysmetod presenteras. Det empiriskamaterialet analyserades genom en fenomenografisk analysmetod, vilken fokuserarpå de betydelser en företeelse eller objekt ges, samt hur olika perspektiv avhändelser eller av objektet förknippas med varandra. I resultat och analyspresenteras och analyseras studiens empiriska material. Analysen är indelad i dekategorier som användes i den fenomenografiska metoden, som är relevanta tillstudiens syfte och frågeställningar. Resultatet av studien visar att de deltagandelärarna lär ut olika kognitiva förmågor. Studien visar också att lärarna har olikauppfattningar om bildämnets syfte i skolan och ämnets relevans för eleverskommunikativa förmåga. En slutsats jag drar av studien är att alla lärare bör hakunskaper om bildämnets roll för elevers utbildning, identitet och medborgerligarättigheter.

Made available in DSpace on 2014-07-29T16:27:50Z (GMT). No. of bitstreams: 1 Dissertacao Ivaina de Fatima Oliveira.pdf: 4301058 bytes, checksum: ebff3a331f3bfa3d6bd6b0caccb2fdfd (MD5) Previous issue date: 2008-04-17 / This survey aimed to argue about the (in) visibility of African Brazilian culture in visual arts education specifically examining the Law 10.639/2003 that has established the compulsory teaching of Afro-Brazilian history and African Culture in Basic Education. The field of art education is one of two responsible of this mission. I developed a bibliographic survey about the implementation of the law, considering the social movements, multiculturalism concepts and affirmative actions as relevant factors in the process of its implementation. My search started also with a concern arising from the requirement of the law: How we will work with History and Culture Afro-Brazilian Culture and African contends in the teaching of visual arts? In contrast the invisibility of black culture in visual arts education, I brought up some events that present different regard on black culture as source for a critical art pedagogy, aware about the diversity of our cultural roots and concerned to the enhancement of African culture aesthetics in our people heritage. I see the law as a contribution to a transformative praxis for teaching arts for the inclusion of ethnic, social and cultural groups excluded or included in stereotypical ways. But the question remains without answers because these are always incomplete. This research has shown that we have advanced, but still we have the difficult task of generating more questions about the exclusion in a country marked by social, racial and cultural inequalities. / Essa pesquisa teve como objetivo de refletir sobre a (in)visibilidade da cultura afro brasileira no ensino de artes visuais examinando especificamente a Lei 10.639/2003, que institui a obrigatoriedade do ensino de História e Cultura Afrobrasileira e Africana na Educação Básica. O campo da arte educação é um dentre outros dois incumbidos dessa missão. Realizei um levantamento bibliográfico acerca da implementação da lei, considerando os movimentos sociais, o multiculturalismo e as ações afirmativas como fatores relevantes no processo da sua implementação. Minha pesquisa partiu também de uma inquietação decorrente da obrigatoriedade da lei, ou seja: Como trabalhar com História e Cultura Afro-brasileira e Africana no ensino de artes visuais? Em contraponto a invisibilidade da cultura negra no ensino de artes visuais, enfatizo algumas ações que apresentam com um olhar diferenciado sobre a cultura negra como fonte para uma pedagogia mais crítica, consciente e transformadora a respeito das nossas raízes culturais e para a valorização da cultura africana na nossa formação estética do nosso povo. Vejo a Lei como um aporte para uma práxis transformadora para o ensino de artes ao tornar obrigatória a inclusão de segmentos étnico-sociais e culturais excluídos ou incluídos de formas estereotipadas. Mas a pergunta continua sem respostas mesmo porque essas serão sempre incompletas. A pesquisa mostrou que temos avançado, mas que ainda temos a difícil tarefa de gerar mais questionamentos sobre a exclusão num país marcado por desigualdades sociais, raciais e culturais.

Esta tese aborda os processos de significação dos conhecimentos em arte no ensino em Moçambique. O foco é a apreensão dos sentidos que circulam na prática docente das disciplinas referentes às artes visuais, visando refletir acerca das relações entre educação, arte e conhecimento no Sistema Nacional de Educação. A pesquisa foi motivada pela possibilidade de evidenciar a contribuição do aprendizado de/em arte e promover a produção artísticacultural, a percepção, a compreensão, a interpretação do meio envolvente intermediado por intervenções conscientes e transformadoras para o desenvolvimento humano; pela necessidade de refletir não só sobre a ausência de investimentos em recursos humanos, tecnológicos e materiais na área de Artes em Moçambique, como também sobre o tratamento tecnocrático dado a esta área de conhecimento. O referencial teórico-metodológico baseou-se na semiótica discursiva para analisar os textos/entrevistas dos professores formadores da Universidade Pedagógica e consubstanciar os sentidos produzidos e reproduzidos. Ressalta que a significação se constrói através da produção e apreensão dos efeitos de sentidos, na relação do sujeito com o currículo. O corpus de pesquisa foi constituído a partir de entrevistas semiestruturadas realizadas com sete professores. As análises mostraram sentidos que emergem a partir da presença do Outro, o ensino de arte na Educação Visual, que causa estranhamentos no Sistema Nacional de Educação. As significações apresentam-se dentro da circularidade entre as disciplinas de Desenho Técnico/Geométrico e Educação Visual/Artes e apontam efeitos de sentidos que focalizam a dualidade entre o inteligível e o sensível, num contexto em que a priori se deveria processar a interdisciplinaridade. As conclusões apresentam posições discursivas que espelham o ajustamento entre as competências e performances do querer fazer e do querer ser em relação à área artística e ao Outro em oposição. Por outro lado, visualizaram-se sentidos que destacam o ensino de Artes como importante para o desenvolvimento humano, mas pouco valorizado e considerado sem complexidade. Revelam ainda o desenho geométrico como área caracterizada pela inflexibilidade dentro do Sistema Nacional de Educação. / This thesis addresses the meaning processes from knowledge in art in education in Mozambique. The center of attention is the meaning apprehension that surrounds teaching practice in the disciplines related to visual art, aiming to reflect about the relation among education, art and knowledge in the National Education System. The research was motivated by two reasons: the possibility to evidence the contribution of learning of/with art by promoting artistic and cultural production, the perception, comprehension, interpretation of the context intermediated by conscious and transforming interventions to the human development; and, by the necessity of reflecting not only about the absence of investment in human resources, technology and materials in art domain in Mozambique, but also about the technocratic treatment that is given to the knowledge field. The theoretical and methodological referential is based on discursive semiotic in order to analyze the texts/interviews from teachers trainers from the Pedagogical University and consubstantiate the produced and reproduced meaning. Based on this perspective, it is emphasized that meaning is produced through production and apprehension of meaning effects, which results from the relation between the subject and the curriculum. The research corpus was established by semi-structured interviews made with seven teachers. The analysis showed meanings that emerged from the presence of the Other, teaching art in Visual Education, that causes estrangement in the National Education System. The meanings are visible inside the circularity of the disciplines of Geometric/Technical Drawing and Visual/Art Education and they indicate meaning effects that focus on the duality between sensible and intelligible, in a context that a priori should manage the interdisciplinarity. The conclusions reveal discursive positions that mirror the adjustment between competencies and performances of wanting to do and wanting to be in relation to the artistic domain and to the Other in opposition. On the other hand, meanings that highlight art teaching as something import to human development, but underestimate and considered without complexity are identified. It also discloses the geometric drawing as a discipline characterized by the inflexibility inside the National Education System.

This licentiate thesis is based on visual art didactics and the school subject visual art, but focuses on the design process in a college design education. The aim is to explore and understand the innovative and exploratory learning processes and the importance of visual mediation in this context. With a phenomenological approach the study focuses on design students experiences in this context. These experiences are made subject on reflection and formulation, through phenomenology and visual semiotics. The empirical materal of the study consists of interviews and sketches and images collected from student workbooks. The results of the study show that the design process does not occur by itself among the students. It must be learned. The need for learning probably also applies to the processes of creative learning in other fields. Furthermore, the results indicate that the process is best understood and appropriated in pragmatic learning situations. Three kinds of visual representations of the basic aims of process work are identified in the analysis: images for communicative purposes, images for reference and discussion purposes and images as a support for one's own thinking. From the perspective of visual art dididactics the results of the study reveals four important dimensions, wich may be of relevance as a fundamental didactic structure in efforts to promote understanding of a practice-oriented learning in context of visual mediations. Together with a split vision guiding principles, existing premises and action-based learning processes may provide a supporting unit in this structure. Based on the results, it seems important that pupils and students have the opportunity to learn to master and appropriate the creative process in order to use it in an investigative purpose. Considering the structure of the process, a didactic model can facilitate learning and at the same time provide a valuable complement to the subjective approach of inspiration in the aestetic learning process. In summary, the results of the study indicate that the fields of design and didactics are related to each other and that the field of design training can bring knowledge and experience of exploration and creative learning processes to the school subject visual art.

Esta tese aborda os processos de significação dos conhecimentos em arte no ensino em Moçambique. O foco é a apreensão dos sentidos que circulam na prática docente das disciplinas referentes às artes visuais, visando refletir acerca das relações entre educação, arte e conhecimento no Sistema Nacional de Educação. A pesquisa foi motivada pela possibilidade de evidenciar a contribuição do aprendizado de/em arte e promover a produção artísticacultural, a percepção, a compreensão, a interpretação do meio envolvente intermediado por intervenções conscientes e transformadoras para o desenvolvimento humano; pela necessidade de refletir não só sobre a ausência de investimentos em recursos humanos, tecnológicos e materiais na área de Artes em Moçambique, como também sobre o tratamento tecnocrático dado a esta área de conhecimento. O referencial teórico-metodológico baseou-se na semiótica discursiva para analisar os textos/entrevistas dos professores formadores da Universidade Pedagógica e consubstanciar os sentidos produzidos e reproduzidos. Ressalta que a significação se constrói através da produção e apreensão dos efeitos de sentidos, na relação do sujeito com o currículo. O corpus de pesquisa foi constituído a partir de entrevistas semiestruturadas realizadas com sete professores. As análises mostraram sentidos que emergem a partir da presença do Outro, o ensino de arte na Educação Visual, que causa estranhamentos no Sistema Nacional de Educação. As significações apresentam-se dentro da circularidade entre as disciplinas de Desenho Técnico/Geométrico e Educação Visual/Artes e apontam efeitos de sentidos que focalizam a dualidade entre o inteligível e o sensível, num contexto em que a priori se deveria processar a interdisciplinaridade. As conclusões apresentam posições discursivas que espelham o ajustamento entre as competências e performances do querer fazer e do querer ser em relação à área artística e ao Outro em oposição. Por outro lado, visualizaram-se sentidos que destacam o ensino de Artes como importante para o desenvolvimento humano, mas pouco valorizado e considerado sem complexidade. Revelam ainda o desenho geométrico como área caracterizada pela inflexibilidade dentro do Sistema Nacional de Educação. / This thesis addresses the meaning processes from knowledge in art in education in Mozambique. The center of attention is the meaning apprehension that surrounds teaching practice in the disciplines related to visual art, aiming to reflect about the relation among education, art and knowledge in the National Education System. The research was motivated by two reasons: the possibility to evidence the contribution of learning of/with art by promoting artistic and cultural production, the perception, comprehension, interpretation of the context intermediated by conscious and transforming interventions to the human development; and, by the necessity of reflecting not only about the absence of investment in human resources, technology and materials in art domain in Mozambique, but also about the technocratic treatment that is given to the knowledge field. The theoretical and methodological referential is based on discursive semiotic in order to analyze the texts/interviews from teachers trainers from the Pedagogical University and consubstantiate the produced and reproduced meaning. Based on this perspective, it is emphasized that meaning is produced through production and apprehension of meaning effects, which results from the relation between the subject and the curriculum. The research corpus was established by semi-structured interviews made with seven teachers. The analysis showed meanings that emerged from the presence of the Other, teaching art in Visual Education, that causes estrangement in the National Education System. The meanings are visible inside the circularity of the disciplines of Geometric/Technical Drawing and Visual/Art Education and they indicate meaning effects that focus on the duality between sensible and intelligible, in a context that a priori should manage the interdisciplinarity. The conclusions reveal discursive positions that mirror the adjustment between competencies and performances of wanting to do and wanting to be in relation to the artistic domain and to the Other in opposition. On the other hand, meanings that highlight art teaching as something import to human development, but underestimate and considered without complexity are identified. It also discloses the geometric drawing as a discipline characterized by the inflexibility inside the National Education System.

Esta tese aborda os processos de significação dos conhecimentos em arte no ensino em Moçambique. O foco é a apreensão dos sentidos que circulam na prática docente das disciplinas referentes às artes visuais, visando refletir acerca das relações entre educação, arte e conhecimento no Sistema Nacional de Educação. A pesquisa foi motivada pela possibilidade de evidenciar a contribuição do aprendizado de/em arte e promover a produção artísticacultural, a percepção, a compreensão, a interpretação do meio envolvente intermediado por intervenções conscientes e transformadoras para o desenvolvimento humano; pela necessidade de refletir não só sobre a ausência de investimentos em recursos humanos, tecnológicos e materiais na área de Artes em Moçambique, como também sobre o tratamento tecnocrático dado a esta área de conhecimento. O referencial teórico-metodológico baseou-se na semiótica discursiva para analisar os textos/entrevistas dos professores formadores da Universidade Pedagógica e consubstanciar os sentidos produzidos e reproduzidos. Ressalta que a significação se constrói através da produção e apreensão dos efeitos de sentidos, na relação do sujeito com o currículo. O corpus de pesquisa foi constituído a partir de entrevistas semiestruturadas realizadas com sete professores. As análises mostraram sentidos que emergem a partir da presença do Outro, o ensino de arte na Educação Visual, que causa estranhamentos no Sistema Nacional de Educação. As significações apresentam-se dentro da circularidade entre as disciplinas de Desenho Técnico/Geométrico e Educação Visual/Artes e apontam efeitos de sentidos que focalizam a dualidade entre o inteligível e o sensível, num contexto em que a priori se deveria processar a interdisciplinaridade. As conclusões apresentam posições discursivas que espelham o ajustamento entre as competências e performances do querer fazer e do querer ser em relação à área artística e ao Outro em oposição. Por outro lado, visualizaram-se sentidos que destacam o ensino de Artes como importante para o desenvolvimento humano, mas pouco valorizado e considerado sem complexidade. Revelam ainda o desenho geométrico como área caracterizada pela inflexibilidade dentro do Sistema Nacional de Educação. / This thesis addresses the meaning processes from knowledge in art in education in Mozambique. The center of attention is the meaning apprehension that surrounds teaching practice in the disciplines related to visual art, aiming to reflect about the relation among education, art and knowledge in the National Education System. The research was motivated by two reasons: the possibility to evidence the contribution of learning of/with art by promoting artistic and cultural production, the perception, comprehension, interpretation of the context intermediated by conscious and transforming interventions to the human development; and, by the necessity of reflecting not only about the absence of investment in human resources, technology and materials in art domain in Mozambique, but also about the technocratic treatment that is given to the knowledge field. The theoretical and methodological referential is based on discursive semiotic in order to analyze the texts/interviews from teachers trainers from the Pedagogical University and consubstantiate the produced and reproduced meaning. Based on this perspective, it is emphasized that meaning is produced through production and apprehension of meaning effects, which results from the relation between the subject and the curriculum. The research corpus was established by semi-structured interviews made with seven teachers. The analysis showed meanings that emerged from the presence of the Other, teaching art in Visual Education, that causes estrangement in the National Education System. The meanings are visible inside the circularity of the disciplines of Geometric/Technical Drawing and Visual/Art Education and they indicate meaning effects that focus on the duality between sensible and intelligible, in a context that a priori should manage the interdisciplinarity. The conclusions reveal discursive positions that mirror the adjustment between competencies and performances of wanting to do and wanting to be in relation to the artistic domain and to the Other in opposition. On the other hand, meanings that highlight art teaching as something import to human development, but underestimate and considered without complexity are identified. It also discloses the geometric drawing as a discipline characterized by the inflexibility inside the National Education System.