This thesis deals with the possibilities of linking art with nature. The theoretical part is based on the General educational program follows the role of arts and educational resources to achieve specific goals. Particular attention is paid to project issues in connection with teaching environmental education, interdisciplinary relations and development directions of arts working with nature, with a focus on natural art. The practical part contains three methodical series of art activities with students of the first degree. The thesis has a picture documentation of the activities carried out on the enclosed CD.

The thesis focuses on basket weaving in art education in an environmental context. In the theoretical part, the diploma thesis deals with nature and its origins for art education. It clarifies the concepts of environment, ecology and contemporary art in relation to traditional crafts. It also deals with the relationship between craft and applied art. The goal of the theoretical part is to deeply understand these concepts and contexts. It also represents the artwork of contemporary artists and free-form artists who deal with the theme of nature. The theoretical basis is based on authors own artwork, capturing the observation of nature and the growth of willow rods with as little human intervention as possible. The result of the author's work is the Willow Diary, which records this observation of the willow rods in nature. Authors own artwork is inspired by existing artwork in nature with natural materials. The didactic part of the thesis contains art tasks based on the theoretical part of the thesis. Tasks are focused on environmental education, spatial creation, contact with nature and natural materials. The aim of the artistic tasks is to raise pupils' interest for nature and to familiarize them with the techniques of basket weaving while introducing them to the themes of environmental education....

No description available.

For art to become personally meaningful to visitors, museums need to view art interpretation as a narrative inquiry process. General museum visitors without art expertise naturally make meaning of art by constructing stories around a work to relate to it. Narrative inquiry, a story based exploration of experience, fits into contemporary museum education theory because it is a constructive and participatory meaning making process. This thesis examines how art museums can build upon visitors' natural interpretive behaviors, by employing art-based narrative inquiry practices and using the work of art as a narrative story text. Individuals learn when their personal narrative comes into conflict with the narrative of the museum and they negotiate new meaning. This kind of narrative learning is a process of inquiry that visitors must engage in themselves. The art museum interpretive experience can foster in visitors the ability to engage in an art-based narrative inquiry process by suspending disbelief,recalling personal memories, comparing different narrative versions, imagining possible meanings, and re-storying experiences into new understandings. This research text explores these topics through a narrative based method of inquiry comprised of a series of autobiographical stories describing the researcher's experiences in coming to understand the relationship between narrative inquiry and art museum education.

The purpose of this study was to examine and evaluate the perceptions of high school art teachers, parents of high school students and high school students themselves relative to the merits of goals of a district program for high school art education and to determine whether the three populations share a common perception of these goals. The reveiew of the literature indicated a lack of substantive art programs in the curriculum from kindergarten through grade 12. The emphasis on art productino goals was cited as a major reason art is given such low status in our nation's schools. Many authors believe that if art is to be valued as fundamental to a child's educational development, the emphasis on art production must be broadened to include art hsitory, critique and aesthetics. Because an official school curriculum is often established to reflect societal values, information on art teachers', parents' and students' perceptions of the merits of the goals of high school art programs is important. Such information can be used to plan a local strategy for generating support for and effecting a change in art curriculum. Twenty-two certified high school art teachers, 200 randomly selected parents and a representative sample of 240 high school students were asked to review a list of 20 goals for a high school art education program and to rate them on a seven point Likert scale. for the three groups included The survey instruments five art activities pertaining to each of the four major goal areas of the discipline-based art curriculum, namely art production, art history, critique and aesthetics. Seventy percent of the participants responded to the questionnaires. The objectives of this study were (1) to determine the variability of perception between and within each group, (2) to find whether the three groups possess common perceptions of the merits of alternative goals, (3) to ascertain whether art teachers with more than five years experience share a common perception with teachers with less than five years experience, (4) to determine whether students who have received secondary level art instruction differ in their perceptions from students who have not received instruction, and (5) to compare the ratings of production oriented goals with the other discipline-based art education goals. Major findings of the study were as follows: (1) The plot fo the mean ratings of the merit of the goals for teachers shows wider variability than either parents or students. (2) Students provided a lower mean rating than either the teacher or parent groups. (3) Lack of data. (4) Students and parents with more exposure to secondary art education tended to rate the goals lower than their counterparts with no art background. (5) In the One-Sample Runs test, the art production goals did not appear more predominant at one end of the list of rankings. Teachers, parents and students rated aesthetics and criticism moderately high. In conclusion, the findings indicate that teachers, parents and students do value critique and aesthetic goals in the high school art education curriculum. Continued in-depth research and study with wider populations will be beneficial if we are to meet the challenge to continue to broaden high school art curriculum goals.

The unique characteristics and needs of artistically talented students were explored. World history students at the Douglas Anderson School of the Arts were used as a test group for the utilization of a variety of art forms in teaching world history. Lesson plans using art media for each unit of study in world history were constructed. Students responded to each lesson by completing an attitude survey. The conclusion was that the use of a variety of art in world history increased student interest and motivation. The increased student motivation resulted in a failure rate of approximately 5%, significantly lower than the previous failure rate of 12%.

Orientador: Rejane Galvão Coutinho / Resumo: A tese defendida neste estudo é que a mediação cultural se apropria de repertórios de participação da arte e da educação. Reconheceu durante a investigação elementos das seguintes hipóteses: que a mediação cultural em artes é realizada por profissionais de diversas áreas, que atuam em instituições culturais conjugando repertórios e práticas da arte e da educação a partir de premissas da ação cultural, em caráter dialógico e coletivo em âmbitos educacionais, artísticos ou sociais; que esta atuação pode instaurar ambientes e processos onde é possível experimentar o convívio e a valorização da diversidade a partir do contato com diferentes ideologias; que as publicações com as descrições, narrativas de processos, registros, avaliações e estratégias de circulação de ideias empregadas em projetos de mediação cultural podem constituir um importante material de formação para profissionais da área. Diante das hipóteses formuladas e suas premissas, tomou como objeto de investigação oito projetos de mediação cultural (sendo quatro deles realizados com a participação da pesquisadora). Estudou a partir deles os registros e narrativas sobre atividades artístico-pedagógicas coletivas feitas por profissionais que atuam na mediação cultural em instituições culturais, selecionando quatro projetos que tiveram a intenção prévia de pesquisar as práticas coletivas que promoveram junto de uma rede de profissionais e instituições envolvidos. Submeteu o material analisado aos seguintes questionament... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The research seeks for evidences that cultural mediation practices appropriates repertoires of participation of art and education. He acknowledged during the investigation elements of the following hypotheses: that cultural mediation in the arts is carried out by professionals from different areas, who work in cultural institutions combining repertoires and practices of art and education from the premises of cultural action, in a dialogical and collective character in educational, artistic or social contexts; that this action can establish environments and processes where it is possible to experience the conviviality and the valorization of diversity from the contact with different ideologies; that the publications with the descriptions, process narratives, registers, evaluations and strategies of circulation of ideas employed in cultural mediation projects can constitute an important training material for professionals in the area. Considering the hypotheses formulated and its premises, it took as object of investigation eight projects of cultural mediation (four of them realized with the participation of the researcher). He studied from them the records and narratives about collective artistic and pedagogical activities done by professionals who work in cultural mediation in cultural institutions, selecting four projects that had the previous intention of researching the collective practices that they promoted with a network of professionals and institutions involved. The a... (Complete abstract click electronic access below) / Resumen: La tesis defendida en este estudio es que la mediación cultural se apropia de los repertorios de participación del arte y la educación. Reconoció durante la investigación los elementos de las siguientes hipótesis: que la mediación cultural en las artes es llevada a cabo por profesionales de diferentes áreas, que trabajan en instituciones culturales combinando repertorios y prácticas de arte y educación desde las premisas de la acción cultural, en un carácter dialógico y colectivo. en contextos educativos, artísticos o sociales; que esta acción puede establecer ambientes y procesos donde es posible experimentar la convivencia y la valorización de la diversidad a partir del contacto con diferentes ideologías; que las publicaciones con las descripciones, narraciones de procesos, registros, evaluaciones y estrategias de circulación de ideas empleadas en proyectos de mediación cultural pueden constituir un importante material de capacitación para los profesionales del área. Considerando las hipótesis formuladas y sus premisas, la investigacion tomó como objeto de investigación ocho proyectos de mediación cultural (cuatro de ellos realizados con la participación del investigador). Estudiados desde ellas los registros y cuentas de las actividades artísticas y educativas colectivas de los profesionales que trabajan en la mediación cultural en las instituciones culturales, la selección de cuatro proyectos que han tenido una intención previa a la investigación de las prácticas colectiv... (Resumen completo clicar acceso eletrônico abajo) / Doutor

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-24T12:28:01Z No. of bitstreams: 1 Lenita Ponce Mendes de Almeida.pdf: 1527151 bytes, checksum: db138be357c7cc95064dd0e1d8e43932 (MD5) / Made available in DSpace on 2018-04-24T12:28:01Z (GMT). No. of bitstreams: 1 Lenita Ponce Mendes de Almeida.pdf: 1527151 bytes, checksum: db138be357c7cc95064dd0e1d8e43932 (MD5) Previous issue date: 2018-03-20 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Fundação São Paulo - FUNDASP / This research is part of the line of research New Technologies in Education of the Graduate Program in Education: Curriculum of the Pontifícia Universidade Católica de São Paulo. It aims to reflect on the creation of new ways in school for the integration of the body to the school curriculum in digital culture. This work focuses on the development and appropriation of the body as an important component of the education of the individual in the contemporaneity. Starting from Michel Foucault’s theory of the docile bodies and the bodymedia theory of Christine Greiner and Helena Katz, this thesis registers and narrates the search for an integration of the body with knowledge in Circus Arts classes at a private school in the city of São Paulo. The research transits and is based on the digital culture as context, as well as it articulates the use of technologies as a cultural characteristic of the student. The impact of body discoveries is recorded in the construction of social notions such as responsibility, autonomy, individual and collective limits. Simple and widely used body solutions in teaching the arts of the scene, such as turning upside down or perceiving the center of balance, the observation of one’s own corporal possibilities and the ones of the colleagues act as facilitators to work with themes such as violence, gender, socio-cultural awareness and creativity. The main results of the research were the discovery of possible ways to construct forms for the integration of the body with the school curriculum found during the observation of the Circus Arts classes, the identification of a fragmented look at the body in the national documents and the lack of awareness of the potency that such integration can have for a quality critical education / Esta pesquisa insere-se na linha de pesquisa Novas Tecnologias na Educação, do Programa de Pós-Graduação em Educação: currículo da Pontifícia Universidade de São Paulo. Ela tem por objetivo refletir sobre a criação de novos caminhos na escola para a integração do corpo ao currículo escolar na cultura digital. Este trabalho foca o desenvolvimento e a apropriação do corpo como um importante componente da formação do indivíduo na contemporaneidade. Partindo da teoria dos corpos dóceis de Michel Foucault e da teoria corpomídia de Christine Greiner e Helena Katz, esta dissertação registra e narra a busca por uma integração do corpo com o conhecimento em aulas de Artes Circenses de uma escola particular da cidade de São Paulo. A pesquisa transita e fundamenta-se na cultura digital como contexto, assim como articula o uso das tecnologias como característica cultural do aluno. Registra-se o impacto das descobertas corporais na construção de noções sociais como responsabilidade, autonomia, limites individuais e coletivos. Soluções corporais simples e muito utilizadas no ensino das artes da cena, como virar de ponta cabeça ou perceber o centro de equilíbrio, a observação das próprias possibilidades corporais e a dos colegas, atuam como facilitadores para trabalhar com temas como violências, gênero, consciência sociocultural e criatividade. Os principais resultados da pesquisa foram a descoberta de possíveis veios para a construção de caminhos para a integração do corpo com o currículo escolar encontrados durante a observação das aulas de Artes Circenses, a identificação de um olhar fragmentado do corpo nos documentos nacionais e, ainda, a não conscientização da potência que tal integração pode ter para a educação crítica de qualidade

Made available in DSpace on 2016-04-27T14:31:37Z (GMT). No. of bitstreams: 1 Tese Janina Moquillaza Sanchez.pdf: 2924549 bytes, checksum: e7ea38e727b42d3eb445c0aa1803645a (MD5) Previous issue date: 2006-03-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This is a qualitative ethnographic research, approached through the action-research method. From the problem of limitations to access the human right to quality education, I intended to know the ways to enhance self esteem of indigenous teachers through the means of art, by accessing theoretical discourses and appropriating of knowledges in intercultural relations. Specifically, I observed the case of a group of the Tupi-guarani linguistic branch in the State of São Paulo. For the paradigmatic orientation of this thesis I adopted the cultural anthropological theory of Clifford Geertz, to whom it is a net of meanings invented by man. Within the net of relations between the whites culture of education and indigenous culture of education, I developed a theoretical comprehension of culture as empowered mechanisms, controls, instructions to govern behavior, and adopting Geertz idea of art as a cultural symbolic system, I found a cultural collective production as the materialization of a way of living. Also, I based on Vygotsky s thoughts about the psychology of art, aesthetics on education, on current life and on behavior, the use of language, the social formation of mind and the importance of mediation. I researched about socio-historical circumstances of indigenous intercultural education as the action-research was developed at the Piaçaguera Tupi-guarani village, in Peruíbe, interior of São Paulo. As the problem configurated, and wiling to reveal the truth of the hypothesis of teachers low self-esteem, we developed a process of life history researches in the same village, sharing knowledges and stimulating the use of abilities to create, recovering ancient knowledges, and recognizing of possibilities of the use of artistic languages, in indigenous education. I consider that intercultural education is a challenge to contemporary education and that in the differentiated indigenous education persist ideas of the school of whites. I found important ways of how this is affecting and will affect indigenous populations, remaining some questions such as how this people use and will use their strength to also affect it; answer that will surely be given by us and by future generations. Concluding, I found that it was possible to contribute to enhance the self esteem of the indigenous group, to recover some elements of the cultural symbolic system, to promote art in education and in the life of people of the indigenous Piaçaguera village / Trata-se de pesquisa qualitativa de caráter etnográfico, com abordagem metodológica de pesquisa-ação. A partir do problema das limitações do acesso ao direito humano à educação de qualidade, busquei conhecer a maneira pela qual o professor indígena pode por meio da arte, valorizar a sua auto-estima tendo acesso aos discursos e apropriando-se dos saberes nas relações interculturais. Especificamente, observei o caso de uma tribo do tronco lingüístico tupi-guarani no Estado de São Paulo. Para orientação paradigmática desta tese, adotei a teoria antropológica da cultura, de Clifford Geertz, para quem a cultura é uma teia de significados tecida pelo homem. Nessa teia das relações entre a cultura de educação do branco, com a cultura de educação indígena; teci linha teórica que parte da compreensão de cultura como conjunto de mecanismos de poder, controles e instruções para governar o comportamento e da idéia, também de Geertz, de arte como sistema simbólico cultural, uma forma coletiva e materialização de uma maneira de viver. Igualmente, fundamentei-me no pensamento de Vygotsky sobre a arte na educação e a estética na vida cotidiana e no comportamento, o uso da linguagem, a formação social da mente e a importância da mediação. Investiguei as circunstâncias sócio-históricas da educação intercultural indígena e na pesquisa-ação, desenvolvida na aldeia Piaçaguera, município de Peruíbe, São Paulo, à medida que o problema se configurava, e visando desvelar a verdade da hipótese da baixa auto-estima dos professores, desenvolvemos juntos pesquisas e compartilhamos conhecimentos; estimulei o uso das habilidades para criar; o resgate do conhecimento dos antepassados e do reconhecimento das possibilidades de uso das linguagens artísticas, na educação. Considero que a educação intercultural é um desafio para a educação contemporânea e que na educação diferenciada, para a educação indígena, permanece a idéia de escola de branco. Encontrei maneiras importantes que mostram como isso está afetando e afetará as populações indígenas, permanecendo algumas perguntas sobre como essas populações usam e usarão suas forças para também afetá-la; questões que certamente serão respondidas pelas gerações futuras. Concluindo, constatei que foi possível contribuir para a valorização da auto-estima dos professores indígenas, resgatar alguns elementos do sistema simbólico cultural do contexto e promover a arte na educação e na vida da comunidade indígena da aldeia Piaçaguera

學校教育與美術館教育在美術教育理念上有著共同的理想與目標，只是兩者在實施內容與方法上有所差異。兩者若能建立良好的互動與合作關係，不但對學生的學習效果可產生極大的影響，同時也符合美術館教育功能的發揮。目前國內多數美術館以在美術館內辦理教師研習活動，培訓學校教師具有運用美術館能力作為發展館校合作的一種方式。然而，美術館在辦理此種研習活動時，教師需求為一重要的考量因素，同時也必須使教師瞭解美術館舉辦教師研習活動的目的與意義，進而達成兩者發展合作關係的基礎。 本研究先運用文獻分析法探討國內外美術教育與美術館教育的理論發展趨勢，以作為建立兩者合作互動的理論基礎。進而從文獻與親自訪查兩方面，蒐集國內外美術館建立館校合作的模式與舉辦教師研習活動的內容與方式。最後，則以問卷、焦點團體與電話訪談三方面來對國中美術教師進行調查訪問，探討其對美術館舉辦教師研習活動的需求與館校合作方式的意見。研究者則根據此三方面的調查資料作一綜合分析比較，提出以下十點結論： 一、美術教師認同美術館對學校師生具有各種不同的教育功能。 二、美術教師對於運用美術館資源從事教學的知能仍有待加強。 三、美術教師在運用美術館資源上仍面臨許多障礙。 四、美術館的展示內容與方式對一般國中學生的學習接受程度有所困難，影響學生的學習意願。 五、美術教師認同美術館舉辦教師研習活動的目的，同時認為有參加此種研習活動的需求。 六、美術教師參加研習活動的需求在於獲得教學資源與藝術鑑賞教學法的運用。 七、美術教師對教師研習活動的舉辦類型與課程內容需求以教學上的實用性需求高於理論知識性、學校課堂上的教學需求高於以美術館為教學環境的需求以及鑑賞教學需求高於創作教學需求。 八、美術教師對研習活動的教學方式以實作性的需求較高，在師資來源上則偏好有實際教學經驗的美術教師。 九、美術教師對研習活動的舉辦時間以寒暑假的需求最高。 十、美術教師對於與美術館互動方式的意見上，以希望美術館能出版與展示相關的教學資源，並在班級參觀美術館時提供展示解說與活動。 根據上述結論，研究者進一步提出下列四方面建議，希望能提供給相關單位參考。 一、美術館應加強製作可提供給學校作為教學運用的教學資源媒體，並建立學校購置管道的途徑。 二、在教師研習的規畫內容與方式上，應注重教師所具有的成人需求特性。 三、美術館應嘗試與學校建立各種互動與溝通的管道。 四、將美術館教育內容納入九年一貫的課程領域中。 第一章 緒論 第一節 問題背景與研究動機 第二節 研究目的與問題 第三節 研究範圍與限制 第四節 名詞解釋 第二章 文獻探討 第一節 國中美術教育的理論與發展現況 一、現今美術教育的理論發展探討 二、我國國中美術教育的課程內容發展 三、國中美術教師的專業知能 第二節 美術館教育的特質與學習特性 一、美術館教育的特質與特性 二、美術館教育相關理論模式探討 三、美術館與學校的合作關係 第三節 美術館教師研習活動的型式 一、美術館教師研習活動的規劃要素 二、國外美術館的教師研習活動與資源 三、國內美術館舉辦教師研習活動的型式 第三章 研究設計與實施 第一節 研究方法與架構 第二節 研究對象 第三節 研究工具 第四節 研究過程 第五節 資料處理 第四章 研究結果與討論 第一節 研究對象基本資料分析 第二節 美術教師教學現況分析 第三節 教師對美術館教育功能認知情形 第四節 美術館教師研習活動的需求分析 第五節 美術館與學校教師互動之意見分析 第六節 綜合討論 第五章 結論與建議 第一節 結論 第二節 建議 第三節 後續研究建議 參考書目 附 錄 附錄一：台北縣市國中美術教師對美術館教師研習活動需求調查問卷（預試） 附錄二：台北縣市國中美術教師對美術館教師研習活動需求調查問卷（正式） 附錄三：台北縣市國民中學名錄