Thesis (EdD )--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Priscilla Lund. Includes bibliographical references (leaves 117-120).

<p> This thesis analyzes Mark Morris' choreography for pedagogical purposes. It explores Morris' technique and style by investigating one of his most acclaimed works: <i>L'Allegro, il Penseroso ed il Moderato</i>. Because this evening length piece offers a large selection of sections, a total of thirty-two, it provides many possibilities to investigate Morris' musicality, creative process, and style. The musical aspect of Morris' work is examined by focusing on how he often molds the dance to the musical score involving specific rhythms, canons and counterpoints. Analysis of his creative process investigates his use of individual and group work, with the implementation of complex choreographic systems. These contain intricate spatial and movement patterns and can reflect the musical structure of a specific composition or are created directly by Morris. Finally, the analysis of his style explores some of his characteristic forms utilized in <i>L'Allegro</i> with particular attention to detailed shapes and gestures, in addition to torso and foot work. For a greater insight, this thesis also includes interviews with Mark Morris, and some of his former company members who were part of the original production. These are Tina Fehlandt, June Omura, and Megan Williams. A second part of the thesis explores the pedagogical potential of <i>L&rsquo;Allegro</i>&rsquo;s material. The investigation is first conducted through the lens of Laban Movement Analysis (LMA), and then through the lens of LMA adaptations for younger student populations, as utilized in the dance education field, by the New York City based Dance Education Laboratory and Seattle based dance educator Anne Green Gilbert.</p><p>

Thesis (Ed.M.)--Boston University

Purpose of the study. The purpose of this study was to determine the educational and experiential status of today's safety educators, teaching at the college level. Areas studied included the perceptions of the safety educators as to the value of their education and work experience in relation to their suitability to teach safety at the college level; the perception of the safety educators of the need for mandatory professional certification; and the professional development requirements to maintain certification. Methodology. A descriptive research methodology was employed to gather and report the data for the study. A survey questionnaire was sent to all members of the American Society of Safety Engineers (ASSE) who live in the United States and list their occupations as educators. The ASSE is the dominant professional safety organization in the United States and the society's members provided an excellent survey sample. Results. The results of the study were based on the data collected from the questionnaires returned by the respondents. The survey provided useful data on the demographics of the nation's safety educators. The survey provided information about the importance of education, experience, and professional certification for safety educators as perceived by the respondents. Conclusions. Relatively few safety programs exist at colleges and universities in the United States. Indications are that the opportunities for safety graduates will continue to grow. The American Society of Safety Engineers has developed a recommended core curriculum and established program standards for college safety programs. At this time only seven institutions have met the requirements for accreditation under these ASSE guidelines. While the ASSE recommendations do not include standards for safety educators, a well-defined safety curriculum will serve to disclose the goals and aspirations of the safety program. In turn, these goals and aspirations will serve to establish the prerequisite skills and talents necessary to become an educator in that safety program.

Industrial arts education is changing its curriculum to teach technology education. Teacher education programs in industrial arts have also changed their curriculums to prepare teachers for the new technology education programs. Current industrial arts teachers are in great need of staff development opportunities to help them deal with technological change, update their skills, and enable them to develop a curriculum to teach technology education. The purpose of this study was to survey Connecticut technology education teachers to determine their participation in specific staff development activities. The study also allowed responding teachers to identify how beneficial they perceived the staff development activities to be. In addition, the study was designed to identity significant correlations between staff development activities, attitude toward change, flexibility, and innovativeness. The substantive findings after a survey was administered are: (a) Connecticut teachers participated in a variety of staff development activities, with activities required as conditions of employment and activities related to state certification requirements receiving the greatest percentage of participation; (b) the staff development activities perceived as most beneficial by Connecticut technology teachers were those activities that were not required and in which the teachers voluntarily choose to participate; (c) a correlation was found between attitude toward innovation and participation in graduate degree programs, independent study, the technology teacher enhancement center, research projects, and curriculum development projects; (d) a correlation was found between flexibility and participation in teacher networks, and interdisciplinary teams; and (e) a correlation was found between innovativeness and participation in regional conferences, state conferences, state association meetings, student group advising, interdisciplinary teams, school committee meetings, and parent teacher groups. Lastly, recommendations were made for additional research and suggestions were made to modify the methodology.

No description available.

No description available.

This autoethnographic study presents a narrative of my lifelong yearning to pursue the practice of magic while concurrently managing the frustrations of being a public elementary school teacher. This study also presents sets of facilitating factors that enabled me to surmount personal, professional, and sociocultural challenges to rekindle my direction and purpose in life. The research questions guiding this study include the following: 1) What are the multiple levels of influence that have contributed to my desire to be a magician and leave the teaching profession? ; and 2) In the interrelation of the above context, how do I reignite my artistic passion and purpose? Using the Bronfenbrenner model of human ecology, this study explores multiple levels of influence spanning those from a sociocultural perspective to those of an inter- and intrapersonal nature.

<p> For the purposes of this thesis, I begin with an overview of theatre for social change in the introduction and then focus on the literature review as a way to introduce authors, ideas, theory and knowledge as background for the reader. This includes anecdotal accounts, reasoning for research and methodologies for carrying out research. I look at feminist theory, community-based theatre, education for liberation and decolonizing knowledge as a basis for my continuing ideas and theories. My emphasis is how to use expressive arts theatre as a way to connect people through dialogue in communities. One of the many ways is implementing curriculum through public school venues. I use theatre techniques that have been used successfully in a variety of global communities that help aide in focusing on certain issues a community is experiencing. I conducted a Women's Theatre Workshop that consisted of an intergenerational community of women whom embarked on a journey engaging in profound material exploring issues that women face. We found that this work was powerful in a variety of ways for them, some highlighting emotional abuse, oppression and double standards as well as theatre being a tool for non-traditional therapeutic use. </p><p> <i>Keywords:</i> praxis, theatre, education, freedom, decolonizing, feminist, theatre for social change</p>

<p> Gender, physiological states, self-regulation, and writing achievement in relation to student writing self-efficacy were examined using a mixed-method approach. Student writing self-efficacy, physiological states, and self-regulation were investigated through surveys and student interviews. Male and female students were selected from two northeast Georgia suburban high schools. Student achievement was measured from the Georgia Milestones test given to 11th grade Language Arts students. A 3 x 2 ANOVA was conducted to research the significance of gender, physiological states, self-regulation, and achievement with writing. Students were given two surveys on self-regulation and writing self-efficacy. </p><p> Findings revealed certain physiological states, such as how a student feels when writing, and self-regulation, how a student copes with these physiological states and how the student adjusts to overcome these obstacles significantly interact with one another. However, writing self-efficacy did not make a significant difference on writing achievement. Writing self-efficacy, physiological states, self-regulation, and writing achievement were gender neutral, meaning gender did not have a significant interaction or make a difference on the results of the surveys or achievement in writing through the Georgia Milestones. </p><p> This research was conducted so that findings could be of value to educators when teaching writing and help them understand the intrinsic value of writing, as well as to make educators aware of the physiological states students experience when writing, to help them better understand how students self-regulate when writing, and to demonstrate how this may play a role in writing achievement.</p>