Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2009. / Includes bibliographical references.

This thesis is an autoethnographic investigation of interactions I have had with my students as a first-year art educator and the ways in which these interactions have led me to recall memories of my own experience as a student in art. Employing a metaphor of "teaching as mutual mark making," I present these interactions as "sketches," which refer to and reflect the ongoing and unfinished nature of memory and experience. My exploration of memory as it relates to teaching and learning has led me to advocate for art education based on relationships between teacher and student, as well as the relationship between the educator and his or her own learning experiences.

This cross-cultural case study was conducted through questionnaire format by way of email correspondence with eight Russian art educators in May to June 2006. It was conducted to give an initial overview into Russian Art Education from the perspectives of eight Russian art educators. The data was analyzed to discover any commonalities in values, beliefs, and attitudes that may have significance to Americans wishing to learn about the structure, content, and pedagogy of Russian art education. The findings of this study reveal that Russian art educators embrace a very traditional and classical approach to the teaching of art. Today Russian art educators are also working toward a more democratic society through art education. The participant interview responses generally reflected a desire to positively communicate and express their educational ideas and beliefs. Recommendations include further research through additional case studies in different areas of the country and more English translations of Russian art education are suggested.

Made available in DSpace on 2016-04-27T14:30:37Z (GMT). No. of bitstreams: 1 Irineia Aparecida dos Santos Silva.pdf: 4604972 bytes, checksum: ecd977f277f908e23a57da3c4ee29c5f (MD5) Previous issue date: 2011-05-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research examines some perceptions of art teachers who teach in state schools in the region of Franco da Rocha , São Paulo, on the application of the "Network Learns Network , focusing on the intent of the course that had as an objective to clarify and deepen. Course of Art of São Paulo . The epistemological grounding of this research is based on theoretical frameworks that expand the field of study in relation to Continuing Education, Curriculum, Art and Ethics. Indispensable categories in the current educational context, its discussion, reflection and discussion assume prospects for significant improvements in the school universe. For its implementation we chose to follow the methodological guidelines of Cognitive Mapping, proposed in 2006 by the researcher Alexandra L. Pereira Okada and analysis of the perceptions of art teachers surveyed and had as theoretical authors Orlandi (1989) and Chizzotti (2008). It is expected that the reflection of this work will contribute to the educational practice of the art educator in making the art a cognitive learning, sensitizing, humanizing and liberating to its students / Esta pesquisa analisa algumas percepções de arte-educadores que lecionam em escolas estaduais na Região de Franco da Rocha, Grande São Paulo, sobre a aplicação do Programa A Rede Aprende com a Rede , tendo como foco a intencionalidade do curso que apresentava como objetivo explicitar e aprofundar a Proposta Curricular de Arte do Estado de São Paulo. Os embasamentos epistemológicos desta pesquisa se fundamentam em referenciais teóricos que ampliarão o campo de estudo em relação à Formação Continuada, Currículo, Arte e Ética. Categorias indispensáveis no contexto educacional atual, seu debate, reflexão e discussão pressupõe perspectivas de melhorias significativas no universo escolar. Para sua efetivação optou-se por seguir as orientações metodológicas da Cartografia Cognitiva, proposta em 2006 pela pesquisadora Alexandra L. Pereira Okada e a análise das percepções dos arte-educadores pesquisados tiveram como fundamentação teórica os autores Orlandi (1989) e Chizzotti (2008). Espera-se que a reflexibilidade deste trabalho contribua na prática educativa do arte-educador no sentido de tornar a Arte uma aprendizagem cognitiva, sensibilizadora, humanizadora e emancipadora aos seus alunos e alunas

Esta dissertação tem como objetivo analisar a relação que arte-educadores fazem entre suas experiências formativas e atuação profissional. Para isso, discutiu-se o conceito de experiência trazido por Dewey (1974), Larrosa (2001) e Josso (2010). Entrevistamos quatro professores de Artes da região de Campinas acerca de sua formação inicial, formação continuada, prática docente, experiências formativas e vivências escolares. Abordando essas narrativas pessoais com o método do Image Watching (OTT, 1997) discorremos sobre as falas de professores, encontrando semelhanças e diferenças. Articulando as narrativas com a bibliografia estudada, propomos uma reflexão acerca das vivências destes professores, sujeitos das experiências relatadas. Além de uma autorreflexão sobre as práticas de cada arteeducador. / The aim of this thesis is to analyze the relations set by the art educators between their formative experiences and their professional performance. In order to reach this goal, it was discussed the notion of experience brought by Dewey (1974), Larrossa (2001) and Josso (2010). We interviewed four Art teachers, who live in the Campinas surroundings, about their initial formation, their continuous formation, their work as teachers, their formative experiences and their school experiences as well. By approaching those personal narratives using the Image Watching methodology (OTT, 1997), we narrated the teachers\' ways of speaking and we were able to find similarities and differences. After we articulated the narratives with the bibliography studied, we would like to propose a reflection about the life experiences of the referred to teachers, who are the main subjects of the experiments narrated hereby, as well as a self reflection on the practices of each art educator.

This cross-cultural case study was conducted through questionnaire format by way of email correspondence with eight Russian art educators in May to June 2006. It was conducted to give an initial overview into Russian Art Education from the perspectives of eight Russian art educators. The data was analyzed to discover any commonalities in values, beliefs, and attitudes that may have significance to Americans wishing to learn about the structure, content, and pedagogy of Russian art education. The findings of this study reveal that Russian art educators embrace a very traditional and classical approach to the teaching of art. Today Russian art educators are also working toward a more democratic society through art education. The participant interview responses generally reflected a desire to positively communicate and express their educational ideas and beliefs. Recommendations include further research through additional case studies in different areas of the country and more English translations of Russian art education are suggested.

The purpose of this study is to examine self-perceived changes that occur over the course of the careers of three K-12 art educators located in north Louisiana and central Mississippi. Designed as a case study, this research focuses on the perceptions of three art educators with regard to perceived changes in their classrooms over the course of their teaching careers. Art teachers were chosen not only because of the researcher's background in the arts, but also because of the art educator's apparent underrepresentation in the body of academic research. The three art educators who were participants in this study were also chosen because of their many years of service in the field. Each has been teaching for 27 years or more in north Louisiana and central Mississippi. Included is a brief review of the researcher's teaching history and educational background in order to establish positionality, which also lends a degree of validity to the research (Villenas, 1996). In addition, this positionality serves to illuminate the researcher's epistemological perspectives and her personal ways of knowing as an art teacher (Cary, 2006). Each teacher's story was divided into a life history, a teaching history, teaching today, and significant perceived changes. Each story was accomplished through multiple taped interviews, document mining, maintaining a researcher's journal, and member checking. A synopsis was developed of the common themes that coalesce each of the teachers' lived experiences, as well as common significant changes that each has perceived over the course of their careers. Many changes were noted by each of the art teachers. The most noted changes were found in the areas of technology, the students themselves, parental involvement, peers, and the discipline of art. Implications for future research are suggested including: (a) more case studies of other art teachers, including more art teachers in north Louisiana and central Mississippi; (b) further development of the researcher's journal associated with this study; (c) and a study of some former students of each of these educators and the impact that these teachers have had on their lives. / text

Esta dissertação tem como objetivo analisar a relação que arte-educadores fazem entre suas experiências formativas e atuação profissional. Para isso, discutiu-se o conceito de experiência trazido por Dewey (1974), Larrosa (2001) e Josso (2010). Entrevistamos quatro professores de Artes da região de Campinas acerca de sua formação inicial, formação continuada, prática docente, experiências formativas e vivências escolares. Abordando essas narrativas pessoais com o método do Image Watching (OTT, 1997) discorremos sobre as falas de professores, encontrando semelhanças e diferenças. Articulando as narrativas com a bibliografia estudada, propomos uma reflexão acerca das vivências destes professores, sujeitos das experiências relatadas. Além de uma autorreflexão sobre as práticas de cada arteeducador. / The aim of this thesis is to analyze the relations set by the art educators between their formative experiences and their professional performance. In order to reach this goal, it was discussed the notion of experience brought by Dewey (1974), Larrossa (2001) and Josso (2010). We interviewed four Art teachers, who live in the Campinas surroundings, about their initial formation, their continuous formation, their work as teachers, their formative experiences and their school experiences as well. By approaching those personal narratives using the Image Watching methodology (OTT, 1997), we narrated the teachers\' ways of speaking and we were able to find similarities and differences. After we articulated the narratives with the bibliography studied, we would like to propose a reflection about the life experiences of the referred to teachers, who are the main subjects of the experiments narrated hereby, as well as a self reflection on the practices of each art educator.

This study was an exploration of the professional identities of secondary school mid-career art educators through arts-based educational research [ABER]. The aim of this research was to gain understandings of mid-career art educators’ perceptions of their professional identities. Inspired by my personal experiences as an art educator, this study engaged other art educators to visualise their professional identities, as secondary mid-career art educators in England, and contribute new perspectives to the research community. Theoretically, this study is aligned with the writings of Dewey (1934, 1944), Deleuze and Guattari (1987, 1994). Deleuze and Guattari’s post-structural concept of the rhizome formed the basis for the development of the ideas associated with identity. As an assemblage, the rhizome is a complex system based on non-linear, reactionary growth patterns. The non-linear growth of the rhizome is facilitated by the activation of the in-between. As such, the rhizome connects to a view of identity as an unstable, flexible and fragmented entity that is in a constant state of becoming (Bauman, 2000). Dewey’s pragmatism was connected with Deleuzian post-structural theory through the writings of Semetsky (2006). Dewey (1944) and Greene’s (1973, 2003) writings associated with democratic education and artistic development connected these theoretical considerations with constructivism, the arts and education. Sachs’ (2003) writing on progressive and bureaucratic education provided a framework for the discussion of professionalism and professional identities. As a contribution to ABER this study was based on a/r/tography (Springgay et al., 2008) as a methodology and actively integrated image and text to the data collection and data analysis. Collage was used as the main arts-based method to develop responses from the participants and to visualise the participant data. This research asked mid-career art educators with busy lives and demanding occupations to consider who they are and express their views through art. These images of identities reflected the complex in-between-ness of professionalism in education.

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