Dissertations / Theses: 'Definition of the art teacher'

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Page, Troy. "What is the role of the art teacher in state-funded secondary schools in England?" Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/20224.

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For many years, and particularly since the 1980s, the state has taken an interest in the curriculum of state-funded secondary schools. This interest has focused largely on utilitarian imperatives for employment and economic sustainability. A consequence of this utilitarian conception of state education is that art viewed, as a less useful subject within the curriculum, is threatened by this. Against an historic discourse about the nature of art itself and why it is taught and its value in society, the question of 'What is art'? and 'What is the role of the art teacher'? continue to defy a consensus that is useful to teachers. Concurrently, these important arguments have inevitably impinged on the practice of art teachers who find themselves distanced from cherished liberal and social imperatives, and confused about what is expected of them. This study looks at how these pervasive arguments make an impact on teachers who, although studied as artists and trained to teach art, now find themselves dubbed 'art and design' teachers as the requirements of the state and its increasingly utilitarian system exerts more control over their working lives. More than twice as many art graduates (3.4% of fine art graduates in 2016) enter teaching than design graduates (1.3% design graduates in 2016) (Logan and Prichard, 2016). A piece of qualitative research was completed with a combined sample of 23 teachers. Building on Efland's streams of influence underpinning the development of art education: Expressionist, Scientific Rationalist and Reconstructivist; and Hickman's rationales for art education: Social Utility, Personal Growth and Visual Literacy, a tentative theory is proposed and hypotheses explored. Some teachers questioned revealed sadness at a perceived reduction in time for lessons devoted to self-expression, art history, cultures, critical evaluation, experimentation, imagination, risk taking, and creativity. Some teachers felt deeply that they and their subject is misunderstood, undervalued and under threat. Many were not comfortable with a role that was at variance with the one they had been trained for. Some teachers suggested their role was no longer concerned with developing children's individual talents but had become too design-based, too predictable, too linear, and too concerned with measurable outcomes and results. Capturing the words of 23 teachers in interviews and surveys contributes to the literature and provides teachers, policy makers and future researchers with vital insights into what an art teacher is and why they teach art, and how this is at variance with National Curriculum aims. These insights are vital because the present lack of consensus about such fundamental arguments has contributed to a devaluing of art in the curriculum to a point where the future of art in state-funded secondary schools is no longer guaranteed.

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Huggins, Jeremy James. "Definition of a threshold." Thesis, Virginia Polytechnic Institute and State University, 1990. http://hdl.handle.net/10919/52100.

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This thesis explores the possible resolution of colliding autonomous architectural entities. The manifestation of this resolution occurs in the design of an art museum that utilizes the memory of the Victorian national spirit. The realization of this program underlies the author's continued pursuit to define the entities of boundary and threshold. This entire enquiry is presented through the utilization of photographs, drawings, and supporting text.
Master of Architecture

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Quevedo, Isabela. "Normative Dualism and the Definition of Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/6.

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Defining art has been one of philosophy of art’s biggest projects. However, no definition offered has achieved to account for all objects we consider art. In this paper, I argue that normative dualism, an unjustifiable Western prejudice for the mental, plays a big part in this failure. The division between fine art and utilitarian and “low” art has been perpetuated because the former is associated with the mental processes involved in its appreciation and, thus, considered more valuable. Theories of art also tend to exclude production (a physical process), concentrating mostly on the appreciation of art (a mental process). Ridding theory of the bias of normative dualism, by abolishing the division that sets fine art apart as more valuable and writing theory that takes art production into consideration, is the only way art theory will succeed in accurately describing art objects.

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Fokt, Simon. "Defining art culturally : modern theories of art : a synthesis." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3675.

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Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art.

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Bhaugeerutty, Aruna Devi. "Sound art : discourses of definition on the contemporary artworld." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4092.

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Since the turn of the millennium, the term 'sound art' has gained increasing prominence while generating persistent discussion and debate. This study explores questions surrounding the definition of sound art through an analysis of these discourses. It also applies a Foucauldian notion of discourse to the concept of genre in order to promote a non-essentialist definition of sound art that is pursued through a project of clarification rather than classification. The research draws from a wide range of sources, from online symposia, magazine articles and publications to art exhibitions and their materials, to expose some of the conflicting and convergent representations of sound art within the artworld. Critical analysis of key ideas and themes identified in this source material is supported through reference to the history and theory of art and music as well as genre and culture. Sound art is an ambiguous and mutable concept that shares concerns with other forms such as experimental music and sonic art but has also developed specific generic meaning. Despite an apparent reluctance to define sound art, the category plays an active and important role within the institutions, industries and academies of the artworld. High-profile survey exhibitions such as Sonic Boom (Hayward Gallery, London, 2000) and Volume (MoMA PS1, New York, 2000) have been a major contributing factor to the growth but also uncertainty of sound art's discourse due to their idiosyncratic and inconsistent representations of the genre and the ways in which sound challenges artistic traditions of display. They also highlight ideological tensions relating to the categorisation of contemporary art in postmodernity, which is rooted in modernist concepts of media, in showing how sound art simultaneously invites and resists definition. Sound art is typically concerned with issues of sound, space and perception. There are many competing interpretations of these definitional ideas, however, arising from a simultaneous association with and differentiation from the traditions of music and the visual arts. The ensuing institutional battle of territories and phenomenological battle of the senses pulls towards and away from the visual respectively. This unique cluster of tensions underpins the discourse of sound art and affords a categorical porosity and liminality that ultimately characterise it. Issues of definition are therefore central to the identity of sound art. An in-depth understanding of the ontological debates and dialectics within its discourse not only draws attention to sound art as a conceptual, philosophical and material exploration of artistic and human experience but also exposes the way in which the arts evolve and artistic meaning is created to provide an insight into the very nature and value of art itself.

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Leclerc, Pierre E. (Pierre Emile). "Architectural definition of an environment suitable for contemporary art." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/79013.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.
Supervised by Fernando Domeyko.
Includes bibliographical references (p. 111).
The title of this thesis implies a critical consideration of the subject. i.e how do we create. show and consume the product of art today. which environment suits it the best and why. The term itself, contemporary art is actually too vague and encompasses such a long historical period that I will restate its period. for the purpose of this project. to the actual; and its actors: those who are affecting the art community now. The environment that I am proposing here is neither a museum or a gallery space. neither a studio or a housing project. The main intent of this work is to create an environment which is a living one. not a monument to art or to a particular period. It is an environment which can facilitate the creative act: in its process as well as in its consumption. It is an environment which offers to both. curators and artists liberty and stimulation to redefine and confront their particular concerns. which is in my understanding the understanding the beauty of art. i.e. their needs to question and search ones own visions. This thesis is the synthesis of my professional understanding. Working in art for many years and being involved in architecture through my studies here at MIT, I wanted to end by creating an environment which will be a representation of a living place where I , as well as other artists, would want to be involved; where the quality of its rooms and spaces (light, materials, sensual qualities ... ), the discovery through intellectual and physical movement, would offer conception, feelings and images of work to be realised, telling me that there is so much to do once I am out of here!!! Art and its process is a representation of our life. Its physical environment is also a possible interpretation of a physical environment which could be applied to many individuals ...
by Pierre E. Leclerc.
M.Arch.

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Kidd-Smithers, Rachel. "Definition and management of pupils' problematic behaviours : a teacher focused approach." Thesis, Staffordshire University, 2016. http://eprints.staffs.ac.uk/3674/.

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Current school guidance and policies from central government place behaviour as a key priority. Historically, governments have also placed behaviour at the forefront. Recently, for example, the 2010 White paper, Department for Education (DfE) ‘Behaviour and Discipline in Schools’ guidance (2011), and Education Minster Nicky Morgan’s appointment of a behaviour tsar (Tom Bennett) tasked with advising policy on how to raise standards of behaviour in schools (2015) confirms this emphasis. Even though regulatory bodies recognise the importance of schools managing ‘problematic behaviours’ there appears to have been a failure to explicitly define what constitutes a problem behaviour in schools. However, this is not surprising given the continuing controversy regarding how ‘behaviour’ (and particularly, ‘problematic behaviour’) should be characterised and defined. To date the support for schools and teachers to better understand ‘behaviour’ characteristics and more importantly ‘difficult behaviours’ is limited. Thus, the issue of behaviour and its management in schools is a longstanding concern. This raises the issue of how schools can continue to raise standards when no clear definition is offered to guide leaders and teachers to better understand ‘behaviours’. This thesis addresses these concerns in a systematic attempt to promote understanding of the following key areas: 1. How teachers define ‘problematic’ classroom behaviours and their reasons for this. 2. How teachers respond to such ‘problematic’ behaviours in classroom settings. 3. The extent to which teachers reflect upon such ‘problematic’ behaviours and the impact their responses have on the learners previously identified as exhibiting ‘problematic’ behaviours. This work incorporates a comprehensive review of how schools have historically managed pupil behaviours with reference to biological and sociological influences. For the purpose of this study, the ways in which relevant ideas and their boundaries are formed held particular interest. Hence, the methodology incorporates a heuristic approach. There was a primary interest in reviewing how teachers define and respond to behaviours deemed ‘problematic’. The methodological approach allowed both the researcher and research respondent to discover if factors such as gender, length of service, or subject area helped to define and shape teacher definitions. A key aim was to understand how teachers respond to those defined behaviours by identifying and analysing: a) What types of non-verbal and verbal communications do teachers use and why? b) What sanctions/ rewards do teachers use and why? c) To what extent do teachers use their classroom environment to respond to behaviours, i.e., seating arrangements, behaviour rules displayed? d) How and when do teachers use support networks in the management of behaviours? e) What heuristics do teachers employ in relation to their decision around defining learners’ ‘problematic’ behaviours? The research project concluded by examining the extent to which teachers reflect upon problematic behaviours, considering the possible impacts that their responses have towards pupils displaying ‘problematic’ behaviours. This main issue identified in this study was teacher congruency, i.e., how what teachers say and do when defining and managing pupils’ problematic behaviours differed. It is those observed differences in teachers’ consistency which was of most interest. The disparity in the ways different teachers identified and responded to ‘problematic’ behaviours was considered against the national backdrop, in which new benchmarks for behaviour have been produced (2015 Ofsted framework).The NFER 2012 findings, which identified pupils’ problematic behaviours as a contributing factor for teacher stress and teacher recruitment, especially within the secondary sector, provided an important context for this work while also highlighting the potential importance of enhancing understanding in this area. The study argues that teachers and education settings could benefit from understanding how teachers’ definition and management of pupils’ problematic behaviours might be influenced by factors not necessarily directly linked to those behaviours. By better understanding the processes involved in the identification and management of pupils’ and their problematic behaviours more parity between what teaches do and say may be achieved.

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Lech-Piwowarczyk, Ewa. "Language and the definition of art: Analytic and continental discussion of the nature of art." Thesis, University of Ottawa (Canada), 1993. http://hdl.handle.net/10393/6684.

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Art has a definite place in our culture and it plays a significant role there. Yet all the continuing efforts in analytic aesthetics to define art have failed, leading to an impasse. So, we still do not know how to define art. In order to overcome the impasse I argue that a change of philosophical perspective is necessary and I suggest a confrontation between Continental and analytic perspectives on defining art. In Part One I deal with analytic aesthetics. I single out Danto's theory of art as the paradigmatic analytic theory of art. I call attention to the fact that Danto defines art by means of language, a theory of art which is a discourse on the language of art. I show the impact of Danto's theory on the rest of analytic aesthetics. First, I present Dickie's theory of art of and show how he draws from Danto but departs from him later on. Then, I present Tilghman's critique of Danto, and I stress the point that in Tilghman's view the problem with Danto's theory is linguistic in nature. I identify Danto's understanding of language as the source of the problems recent analytic aesthetics has with the definition of art. In this way I locate the current impasse in analytic aesthetics and I claim that the underlying analytic understanding of language is too narrow in order to define art. I show the evolution of Danto's views and I discuss his attempt to enlarge his understanding of language with history. In Part Two I try to suggest a way out of the impasse. I shift the perspective and turn to phenomenology and Ingarden's theory of art. I call attention to the role of language in his philosophy and present his approach as quasi-analytical. Specifically, I interpret Ingarden as the continuator of Twardowski and not of Husserl in his understanding of language. I point to the fact that Ingarden's non-phenomenological view of language is a view that allows of seeing language not only as a container of ideas but also their shaper. I show that Ingarden attributes to language an attentional mode of being, and that he treats it as a means of communication. He exposes its cultural nature and enlarges its understanding with the notion of society. I claim that such a broader understanding of language may help analytic aesthetics overcome the present impasse. In Conclusion, I argue that supplementing the notion of language with the notion of history, as Danto does, or society, as Ingarden does, provides a fuller understanding of language, and consequently of art. Hence, it makes possible the overcoming of the impasse in analytic aesthetics. At the same time, however, I show that the very project of defining art has to be relativized in terms of understanding and responding to the significance of art.

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Volt, Marek. "The epistemic and logical role of definition in the evaluation of art /." Tartu : Tartu University Press, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=017064998&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Sadlowski, Gail. "The Development of a Definition and Applied Evaluation Criteria for Psycho-Narrative Video Art." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500553/.

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This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.

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Eggemeyer, Valerie. "Art Museum Resources and Teacher Use." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5285/.

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I proposed that both Bruner's (1963) idea of the spiral curriculum and Yenawine's (1992) theories of teaching for visual literacy in the museum set the stage for significant learning for students when used together. If school teachers lay a foundation of knowledge about a museum object, especially through museum resources, then the student may transform and apply this 'prior knowledge' (explicit memories from the classroom) while on the museum visit tour. When docents utilize Yenawine's (1992) methods toward the goal of visual literacy, the semantic knowledge of the classroom is then fused with museum learning, building stronger memories and facilitating deeper understanding as students learn about museum objects. This research explored the correlation of these two theories in a qualitative manner based on observations of actual museum visit preparation in classrooms in Casper, Wyoming, and how it related to a museum tour at the Nicolaysen Art Museum and Discovery Center. The research revealed that conditions do exist within the community that would facilitate Bruner's (1963) idea of a learning spiral, yet not in the manner envisioned. The observed conditions toward a spiral was accomplished through the participant teachers relating the museum exhibit to their operational curriculum in a variety of curricular areas, such as language arts and science, when docents related the tour to classroom learning, and not through museum resources or Yenawine's (1992) methods toward increasing visual literacy, as was previously considered.

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Blatherwick, Mary Louise. "Teacher preparation for art curriculum implementation." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26375.

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This study addresses the question of how well prepared are elementary teachers in British Columbia to implement the New Elementary Fine Arts Curriculum Guide/Resource Book. Through questionnaires and interviews conducted with elementary teachers in a large Lower Mainland school district and university elementary art methods course instructors at three universities in British Columbia, it was possible to identify and discuss some of the educational factors that influence curriculum implementation in art. This study offers recommendations to promote a more unified approach to implementation by the Ministry of Education, curriculum committees, teacher educators and teachers, to ultimately improve the art education that is offered to elementary school students.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Naspo, Jacqueline. "The definition of teacher quality: what state policymakers say in three states." Thesis, Boston University, 2005. https://hdl.handle.net/2144/31990.

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Thesis (Ed.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
This multi-site case study examined education policymaking in the states of Connecticut, Massachusetts, and North Carolina in order to discover the ways in which policymakers define teacher quality. Forty policymakers were asked questions about five broad topics -- the political culture in the state, the role of research in policymaking, the policies devised to address the issue of teacher quality, descriptions of a good teacher, and the definition of teacher quality. These policymakers represented four sectors-- state department of education officials, politicians, educators, and business leaders. What emerged were descriptions of the distinct political and educational cultures of each state and the ways in which these differences and the values and beliefs of these policymakers affected the policy problem definition, the choice of policy instruments, and the relationship of research to policy development. The frameworks used to provide assessments of the complexities involved in defining teacher quality include: McDonnell and Fuhrman's (1985) descriptions of the factors that impel policymakers to act; Marshall, Mitchell, and Wirt's (1989) conceptualization of assumptive worlds and the four domains they identified to understand the principles under which policymakers operate; and Murphy and Adams' (1998) depiction of the dynamics of educational reform. The conclusions of this study are: (1) state political culture does affect policymaking and accounts for the differences among states; (2) policymakers do not institute policies based on values alone, but also based on the contexts of their assumptive worlds; (3) the inability to accomplish all aspects of good teaching with current policy instruments, coupled with cultural differences, results in variances of definitions among the states in this study; (4) there is a gap between personal definitions of good teaching and the descriptions of what can be accomplished in policy; and (5) teacher quality is defined by state policymakers (a) in similar terms across states as a whole, but with different emphases by the four sectors; (b) by the specific policy instruments used to address the problem of teacher quality; and (c) in the current national climate of accountability and political expediency. A number of recommendations for policy and research are presented in the last chapter.
2031-01-02

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Findlay, Judith. "Fine art as performance : a definition of the discipline (a study of the fine art world in the art school)." Thesis, University of Strathclyde, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366768.

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Siivonen, Nathalie. "Konsthantverkets definition : En studie av ett begrepp i förändring." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-69460.

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Sammanfattning Konsthantverk är ett begrepp som förändras i förhållande till hur samhället förändras. Denna studie är därför inriktad på hur detta begrepp uppfattas i nutidens svenska samhälle eftersom den ligger så nära andra begrepp såsom ”design”, ”slöjd”, ”konst”, ”hantverk” och ”formgivning”. Syftet är att skapa en större förståelse för hur begreppet kan tolkas och ge en tydligare bild för de som intresserar sig för konsthantverk men också för de som verkar inom eller i de närliggande begreppen. Studien är uppbyggd på litteratur som berör konsthantverk där olika personer har tolkat och försökt sig på att identifiera begreppet. Till detta tillkommer också emailbaserade intervjuer med Zandra Ahl, Bengt Lärkner, Johanna Rosenqvist, Barbara Häggdahl och Jonas Rooth. Deras svar har en avgörande roll i huruvida konsthantverk tolkas idag, och eftersom deras åsikter är personliga ger det också en bredd kring begreppet. Men detta skapar också en diskussion som hela tiden förändras i takt med människan, och denna studie står som informativ bas till de framtida studierna kring begreppet ”konsthantverk”.

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Quin?ones, Agar V. "Student Art Assessments, Teacher Evaluations, and Job Satisfaction among Art Teachers." Thesis, St. Thomas University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10745119.

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The purpose of this qualitative case study was to explore and recognize if district-created student art assessments and teacher evaluations influenced the job satisfaction of art teachers due to the increased teacher turnovers and teacher shortages. The experiences, beliefs, and perceptions of the art teachers were critical in understanding and establishing if the increased implementation of the accountability measures added to the stress level and job satisfaction experienced by art teachers. The sample for this case study comprised of 10 male and female art teachers who were certified to teach art within the State of Florida for at least five years and were currently or formerly employed in the Central Florida region. The art teachers were invited first through email invitations and subsequent participants were recruited through the snowball method. Data gathered in this study was collected through audio and visual recordings through the semi-structured interview process. The data collected were analyzed using NVivo 11 Pro (QSR International, 2017) software to uncover themes, patterns, and critical phrases shared by participants. The five themes were: (a) there is a greater level of stress is experienced by teachers from student art assessments and teacher evaluations than ever before; (b) there is much confusion and lack of information on the purpose, procedures, and calculation of student art assessments and VAM scores; (c) class size and an overloaded schedule are detrimental to both the already heightened stress level of art teachers; (d) a supportive, understanding, and appreciative leadership team at each school has a positive impact on an art teacher; (e) a teacher evaluation system that is applicable and fitting for performing arts courses is a necessity within the district. Research findings from this qualitative study exposed the experiences, perceptions, and challenges art teachers have encountered in relation to the district-created student art assessments and teacher evaluations, while teaching in the Central Florida region.

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Breitenstein, Gary. "A Comparison of Texas Pre-service Teacher Education Programs in Art and the 1999 National Art Education Association's Standards for Art Teacher Preparation." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3156/.

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Texas programs in pre-service art teacher preparation vary little. Since 1970, the National Art Education Association (NAEA) has created voluntary standards in hopes of decreasing variability among programs. In 1999, the NAEA published Standards for Art Teacher Preparation, outlining 20 content areas that art pre-service programs should provide their students. To obtain information on the implementation and the extent to which these 20 standards are being implemented, a questionnaire was sent to all programs in Texas. The 20 standards were the dependent variable for the study. The four independent variables used in this ex post facto study were: the size of the institution where the program exists; the number of full-time art faculty; the number of full-time art education faculty; and, the number of undergraduate art education students who graduated last year. The 20 standards or provisions were scored on a Lickert scale with six options: zero (not taught) to five (comprehensively taught). The response size (N = 23) was 47% of the state's 49 approved programs. The results from the survey suggest no significant difference among programs. However, the results showed a significant difference in the number of provisions taught between programs with no art educators and those with 1 to 3 art educators. One art educator seemed to increase the number of pedagogical provisions taught but did not increase the extent or enhance the degree to which each provision was taught. A comprehensively taught response to the NAEA provisions on the questionnaire was further investigated through analysis of catalog course descriptions and correspondence with participants. The results are estimated in credit hours and indicate that there may be a point where time on task decides the limit that constitutes a comprehensive preparation. Perspectives on content are discussed and regarded as too subjective to define comprehensive preparation. Comprehensive time on task varies with content, which may imply an unconscious marker of time shared by educators that defines a comprehensive preparation for each provision. Changing and local standards in art pre-service programs may have produced a range of interpretations regarding the meaning of "comprehensively taught.";

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Lim, Kyungeun. "An Inquiry of How Art Education Policies are Reflected in Art Teacher Preparation| Examining the Standards for Visual Arts and Art Teacher Certification." Thesis, Indiana University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10635268.

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Policy changes influence various aspects of art education such as K-12 art education curricula, state licensure systems, and contexts of art teacher preparation. Despite strong relationships between art education policy and practical fields, few studies have attempted to understand art education from the perspective of policy analysis. This study explores the connections between art education policy and the field of art education through a focus on art teacher preparation in Indiana. Additional attention was paid to perceptions of the appropriateness of alternative licensure routes in relation to policies of academic and quality standards and the extent to which visual art teachers’ sense of identity as teachers and artists is affected by appropriation of these standards.

The theoretical framework of this study is the need to understand policy appropriation of standards (including visual art and art teacher preparation standards) as an on-going process, that is continually influenced and changed by internal (human level) and external (institutional level) factors. The appropriation process is effectively expressed through practices, narratives, and texts of practitioners.

To understand the status and factors of the art education policy appropriation in art teacher preparation, I collected data as printed or digital documents, and as interviews with faculty members and pre-service art teachers in two traditional visual art teacher preparation programs in Indiana. I analyzed external (institutional level) and internal (human level) factors to adopt and work with state and national standards. While national standards for visual art education (were adopted by many states and presented as voluntary policy, in Indiana the national standards were built into the Indiana’s Academic Standards for Visual Art Standards for K-12 students. Visual art teachers were required to complete a traditional teacher preparation program and pass examinations to become licensed to teach art.

Findings reveal that faculty of higher art teacher education programs in Indiana paid attention to the national and state standards in K-12 visual art and the standards for teacher education when preparing students to become licensed K-12 art educators. External motivations were accreditations system for teacher preparation requested by Indiana Department of Education related to NCATE. Schools and districts could be external motivations that pre-service art teachers adopt the standards in order to succeed in a job market. Internal factors were respects of roles and leaders of art education associations, desires to train/be qualified teachers and attain balanced knowledge between art studio and art education. Alternative routes to licensure were viewed as economically advantageous but not supportive of high-quality education. Policy had little impact on issues of identity. I concluded with recommendations for improvement in art teacher preparation that were needs of supportive policies for pre-service teachers’ teaching and teaching licensure including traditional and alternative licensures.

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Willis-Fisher, Linda Salome Richard A. "A survey of the inclusion of aesthetics, art criticism, art history, and art production in art teacher preparation programs." Normal, Ill. Illinois State University, 1991. http://wwwlib.umi.com/cr/ilstu/fullcit?p9203045.

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Thesis (Ed. D.)--Illinois State University, 1991.
Title from title page screen, viewed December 21, 2005. Dissertation Committee: Richard A. Salome (chair), Jack Hobbs, Noreen Michael, Marilyn P. Newby, Fred A. Taylor. Includes bibliographical references (leaves 112-115) and abstract. Also available in print.

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Taylor, Kristin Vanderlip. "Visual Art Communities of Practice| Cultivating Support for Beginning Visual Art Teachers." Thesis, Pepperdine University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10816921.

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Visual art teachers, from beginning to veteran, often report experiencing feelings of professional isolation and a desire for content-specific support and collaborative professional learning experiences. Mentoring and Induction Programs (IPs) offered by schools and districts continue to fall short of meeting the needs of beginning visual art teachers in particular. There are a large number of visual art teachers in the state of California, especially in Los Angeles County, yet there are no visual art specific support networks for beginning visual art teachers to help them navigate their first years teaching. Collaborative learning groups, such as communities of practice (CoP), may offer visual art teachers opportunities to learn together and support one another in shared learning, yet none have been formally documented in Los Angeles County as a means of supporting novice art educators. The Exploratorium in San Francisco, CA has established a community of practice called the Teacher Induction Program (TIP) to support beginning science teachers with content-specific pedagogy during their first two years of teaching. Using the TIP as a framework, a visual art professional growth support community was outlined for this study based on the needs and concerns of visual art teachers reported throughout the literature. Beginning visual art teachers in Los Angeles County were interviewed to help the researcher better understand their existing and desired supports, as well as their individual needs and concerns as new teachers. The visual art CoP was proposed to them to elicit feedback about its anticipated values (immediate, potential, applied) based on their lived experiences as first or second year PK-12 public school visual art teachers in Los Angeles County.

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Prestwich, Jeanne Sperry. "Teacher Definitions of Integration in Primary Grades." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3738.

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One obstacle that challenges the implementation of effective curriculum integration practices is the confusion caused by the existence of numerous definitions of this construct in the literature. This concern is further compounded by the potential disconnect between the varied definitions proposed by scholars and classroom teachers' acceptance and use of curriculum integration. The purpose of this study was to analyze K-3 grade teachers' self-reported definitions of curriculum integration. Teachers responded to an Internet survey in which they provided their personal definition of curriculum integration, described integrated teaching examples from their own classroom, and rated six teaching scenarios for quality of integration. Results suggest that teachers may not share the wide variety of definitions of integration described in the literature. Teachers in this study seemed to generally share one definition of integration, as measured by their explanation of the term integration and by the teaching examples they provided. In addition, the majority of the teachers' definitions aligned with their teaching examples, suggesting that the teachers both define and practice integration in similar ways. Finally, when teachers ranked teaching scenarios written to illustrate different levels of quality of curriculum integration, the majority of the teachers again appeared to agree on a shared definition. There were no statistical differences based on grade level, years of experience and education level. In addition to presentation of results, implications for future research and practice are discussed.

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Radley, Emma. "Subversive teaching, resolving the artist teacher dilemma : a study of the merging practices of an artist teacher." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/510/.

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Allison, Amanda Bain Christina Bittel. "Critical theory and preservice art education one art teacher educator's journey of equipping art teachers for inclusion /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6139.

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Allison, Amanda. "Critical Theory and Preservice Art Education: One Art Teacher Educator's Journey of Equipping Art Teachers for Inclusion." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6139/.

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This qualitative action research study examines how critical theory defined and guided my practice as an art teacher educator while I provided inclusion training for seven preservice art teachers during their student teaching. Sources of data included a personal journal, the inclusion curriculum I created for the preservice teachers and questionnaires and interviews. Primary findings indicated that critical theory had a substantive impact on the evolving development of my teaching philosophy, in particular my attention to issues of power redistribution in the classroom and my developing notion of teaching as form of artistry. The findings of this study also indicate that the primary impact of critical theory upon the preservice teachers was the articulation of their personal narratives and its relation to the development of their teaching identities. Further, mentoring these preservice art teachers in critical theory increased their competence in solving educational dilemmas. A primary finding of this study was how significant of a role the supervising or mentor teacher plays in developing preservice teachers' identity. As this is acknowledged, valued and utilized, more collaborative relationships among these stakeholders in the education of the preservice art teacher can be forged. The study provides implications for art teacher educators as they provide inclusion training to preservice teachers. These include honoring narratives, articulating a broader notion of inclusion, and using context-specific instructional tools while preservice teachers are completing fieldwork with students with disabilities. One suggestion for future research is to conduct longitudinal studies which explore and validate the impact of critical theory upon art teacher educators and preservice art teachers during the student teaching semester and several years beyond.

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Thompson, Seth Aaron. "Art Unfettered: Bergson and a Fluid Conception of Art." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.

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This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.

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Edidaha, Edidaha John Ukpong 1939. "CURRICULUM FOR NIGERIAN TEACHERS EDUCATION STUDENTS (ART)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291944.

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This thesis defines and presents discipline-based art education curricula as defined by Greer 1983 for Nigerian Art Education Students. Current requirements in art education programs both in Nigeria and the United States are compared in order to more fully understand and develop this course of study. Attention is paid to the national goals and the inherent culture of Nigeria. An analysis of the curriculum of five colleges with discipline-based and education programs has been studied in order to determine a suitable outline of curricula for college teachers in Nigeria. It is concluded that Nigerian teachers, through this proposed program, will be exposed to the contemporary discipline-based approach to art education, and that Nigerian children taught by means of this approach will be able to gain a better understanding and appreciation of their artistically rich culture.

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Price, Deanna Jean. "Art teacher preparation does the path to certification in Florida matter?" Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/503.

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For years now, students have been learning from two different types of teachers: Teachers who received certification from a traditional training program at a university and teachers who became certified through alternative certification routes. Does the educational preparation of an art teacher matter? Is alternative certification as effectual as traditional teacher preparation programs? Darling- Hammond (2006) says, "Evidence indicates that teachers who have had more preparation for teaching are more confident and successful with students than those who have had little or none." This thesis will examine and analyze alternative teacher certification in art education for the state of Florida, in a selected county in central Florida, and the traditional teacher certification program via a university path. I am choosing to base this study on my own program of study. I am on the path receive a Bachelor's degree through a traditional art education preparation program. This topic will be discussed by conducting a review of literature. Articles from scholars will be cited in order to provide evidence to support the conclusion that art teachers who are traditionally certified are better prepared for the art classroom than art teachers who attained certification via an alternative route. In order to carry out this investigation, an autoethnography will be included, which will include personal experiences, such as going through a traditional art teacher certification program, which is a four year Bachelor's degree in art education and observing art teachers who have completed different types of certification, leading me to the conclusion that traditionally certified art teachers are more prepared.
B.S.
Bachelors
Education
Art Education

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Alghamedy, Ahmed A. G. "Investigation of conditions affecting art teacher preparation and art education curriculum implementation in Saudi Arabia /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747727.

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Jensen, Jordan. "A Comparative Case Study: Investigation of a Certified Elementary Art Specialist Teaching Elementary Art vs. a Non-Art Certified Teacher Teaching Elementary Art." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2861.

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Most colleges and universities offer a general course in elementary art education to provide instruction to the elementary generalist to enable that student to later provide art instruction to students at the elementary level. This course is commonly referred to as the two-credit course in elementary art education throughout this thesis. This thesis is a case study investigation of a certified elementary art specialist and a non-art certified teacher teaching elementary art in the Subject School District in Utah. It asks and gathers data on three main questions. How is art education valuable for elementary students? What is a quality elementary art curriculum? How does an elementary art specialist change the learning experience of elementary art students? Under these three main questions the following questions are also considered: Where do teachers obtain their curricula? What research exists that describes differences between art specialists and non-art specialists teaching elementary art? What were the qualities within each art room? What types of art projects are being taught in these two different classrooms?Further, a survey was constructed to seek answers about the attitudes towards art education in the Subject School District in relation to the three questions under consideration. To ensure the maximum in statistical accuracy, the survey was sent to every elementary school in this district including all elementary administrators. The survey contained 49 statements on attitudes towards elementary art education. There were 129 elementary educators and administrators out of 2,300 from Subject School District that responded. The data from the survey was analyzed to determine where these attitudes lie and the thoughts on the importance of art education at the elementary level. The results of this survey show the typical elementary educator in Subject School District feel the arts are indeed an important part of the elementary curriculum. However, the majority do not feel fully prepared to teach a quality elementary art curriculum and feel elementary art should be taught by art specialists.

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Byrne, Maureen Anne. "The Tucson Dinner Party: A study of art teacher development." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/291530.

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In seeking to create and frame the teacher wisdom contextual to the practices of Tucson art teachers, I designed a descriptive action research study. Inspired by Judy Chicago's installation, The Dinner Party, I invited seven female art teachers to my home as guests at The Tucson Dinner Party. Four questions were asked of the art teachers. They were: (1) Using an artistic metaphor, how would they describe the meaning they give to their teaching? (2) How were they socialized into the profession? (3) How would they define the attributes of an expert art teacher? (4) How do they see the future of their profession? It was found that: teachers with more experience created more complex metaphors for their teaching, socialization of art teachers is weak at their school sites, teacher expertise is undefined in art education, and art teachers have concerns about the impact of standards reform on art programs.

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Muhlheim, Kimberly A. "An Auto-Ethnographic Study of a Novice Itinerant Art Teacher." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/67.

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This study is an auto-ethnographic examination of reflections of a novice itinerant art teacher. The teacher taught at four schools within her first two years of teaching. Reflections of her first two years are recorded, then analyzed, and suggestions for other novice itinerant teachers are provided

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Lancaster, John Maurice. "An historical study of specialist art teacher education in Bristol." Thesis, University College London (University of London), 1985. http://discovery.ucl.ac.uk/10019554/.

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Darweesh, Ali Hussain. "The Enameling Arts in Kuwaiti Pre-service Art Teacher Education." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28410/.

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The purpose of this study was twofold: (1) to examine the knowledge, skills, and experiences in the enameling arts and the attitudes and perceptions of in-service (n = 12) and pre-service Kuwaiti art teachers (n = 170), art supervisors at the Ministry of Education (MOE) (n = 3) and art education faculty members at the College of Basic Education (CBE) and Kuwait University (KU) (n = 8) about what they believed pre-service art teachers should know and be able to do in order to teach the enameling arts, and (2) to use this information to inform and guide the development of a content outline for an enameling course for pre-service Kuwaiti art teachers that is educationally (how to perform enameling arts skills and how to teach what they know), practically (safety issues, workshop management, etc), and culturally (its relation to Islamic culture) suitable. Both quantitative and qualitative approaches were used. Most of the respondents revealed limited knowledge and skills and modest experiences in the enameling arts. All interviewees in the study expressed positive perceptions and attitudes about the enameling arts. Most agreed that a revision to the current art education curriculum at the CBE was needed and made suggestions about how the curriculum should be revised. It was clear that there is a disconnection and miscommunication between the MOE and the CBE with regards to the information about enameling that should be covered and taught in the art education classes. All respondents expressed support for the inclusion of a course in enameling in the art education curriculum at the CBE. Because of the limited knowledge of the participants in the study, they were not able to provide guidance in shaping the content for a course in the enameling arts. The researcher had to rely on the literature review and his expertise as an enameling artist to develop a content outline that was educationally, practically, and culturally suitable for the pre-service Kuwaiti art teachers. Further study was recommended in regard to curriculum issues, especially those related to the inclusion of Islamic culture, and methods of delivering instruction in the enameling arts.

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Farrar, Chelsea Jane. "Bridging the Gap: Teacher Voices, the Writing Process Through Art, and Creating an Art Museum Website." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/312511.

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Through a qualitative case study this research examines the needs of three generalist high school teachers in relation to arts integration, writing, critical thinking, and the art museum website. The study also examines the perspectives of art museum educators in relation to how museum websites can be used to support teaching the writing process in the school classroom. Arts integration and the museum website are analyzed in depth through literature review and in-depth semi structured interviews. This research aims to present a model for collaborative website design where the museum website is designed around classroom teachers' curricular needs.

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Vial, David G. "Journeys and border crossings : emerging issues facing the expatriate teacher : an " Ang Moh" art teacher in Singapore." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16323/.

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This qualitative research study analyses the causal conditions of educational, cultural and ideological issues that emerged as a result of Expatriate teaching experiences in secondary schools in Singapore. The study also examines how the foreign educational environment affects the performance of the Expatriate Teacher (ExT). Specifically, the results provide insight into how Expatriate Teachers (ExTs) conceive of notions of work, teaching and learning and how they come to terms with, and adjust to employment within a foreign teaching environment. Seven teacher-participants were selected on the basis of their individual experiences as an ExT or experiences working alongside ExTs. Semi-structured interviews were conducted in the UK, Singapore and Australia to explore teacher-participants' teaching conceptions and experiences. Two Pilot interviews were conducted prior to the Interview Schedules being made available to the participants. One pilot interview was subsequently included in the analysis. Aspects of Grounded Theory methodology, in particular the Constant Comparison method, were utilised to categorise and analyse data. Analysis of the data was also facilitated using the computer software programme NUD*IST 6. The findings identified three related and interwoven themes which categorised the issues as experienced by the seven teacher-participants. One is the Conditional Variables of the physical, structural and organizational setting. The second is the resident Proficiencies and Attributes of the ExT, which includes ideologies, values and expectations. The third includes Configurations of Culture such as work culture, subject culture and cultural adaptations. The study outlines how Incongruity and Dissonance can operate within and between these three themes and indicates implications for improving the experiences of ExTs and other stakeholders.

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Balkir, Nur Chanda Jacqueline. "Visual culture in the context of Turkey perceptions of visual culture in Turkish pre-service art teacher preparation /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9935.

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Vorndran, Kenneth R. "Zen in the Art of Teaching: Contemplative/Mindfulness Practice in the Professional Development of Teachers." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195071.

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This dissertation uses a Zen koan as a foundation for discussing teacher training and development. It suggests that teacher training attends to issues of theory, pedagogy, and technology, and it contends that teacher training and development does not adequately attend to the intrapersonal aspect of teaching. In spite of the use of reflective techniques in teacher education, teachers are not trained in a significant way to navigate, negotiate, or manage the issues of identity, the issues of self-belief, the patterns of thought, and/or the emotional patterns, which affect their teaching and their classrooms. This work looks at research regarding the importance of the intrapersonal aspect of teaching in relation to teacher effectiveness and classroom climate; it considers current practices in pre-service and in-service teacher training; and it reviews research related to the efficacy of mindfulness and contemplative practices, such as meditation. It argues that the intrapersonal aspect of teaching is relevant to teacher effectiveness and classroom climate; that contemplative and mindfulness practices may offer systems that support and sustain teachers as they navigate, negotiate, and manage the intrapersonal aspect of teaching; and that pre-service and in-service professional development may provide vehicles to deliver this training.

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Garnons-Williams, Victoria. "Art teacher pre-service education : a survey of the attitudes of Queensland secondary, and tertiary art educators." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26115.

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This study compares the views of three groups of art educators - secondary, tertiary pre-service lecturers, and scholars - about the content and structure considered important in art teacher pre-service education. Items of program content and structure, as well as issues in art-teacher preparation were gleaned from the writings of selected scholars and incorporated into a survey questionnaire. The survey was distributed to secondary art educators throughout Queensland and to art pre-service lecturers throughout Australia. An analysis of the results identifies areas and degrees of agreement and difference on items both within and between groups. The study can assist the development of art teacher pre-service programmes that reflect the values of both theoreticians and practitioners of art education.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate

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Boulton-Funke, Adrienne. "Context and teacher practice : visual art in a secondary traditional school." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/12615.

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Based on a ten-week case study in a senior Visual Art class, at The Secondary Traditional School in Lower Mainland British Columbia, this thesis identifies how the traditional educational philosophy conditioned the curriculum decisions and pedagogical practices of a Visual Art teacher. Data was collected from three groups of participants: the Principal of the school, the Visual Art teacher, and a focus group of Visual Art students using the ethnographic methods of document collection, participant observation, and formal and informal interviews. Analysis of the characteristics of Goodlad et al’s (1979) five domains of curriculum: official, perceived, ideal, operationalized, and experienced indicated that recent reforms to education, reflecting neoliberal policy, significantly shaped the experience of teaching and learning in Visual Art in the traditional public school. Legislated neoliberal reforms to education, legitimized schools-of-choice in the province allowing for the propagation of traditional schools by individuals well versed in the idioms of choice. The traditional philosophy’s back-to-basics curriculum and teacher-centered pedagogical approach, coupled with visual acts of symbolic respect created a learning environment, which challenged the implementation of Visual Art curriculum and pedagogical practices that emphasized critical thinking and contemporary conceptual art practice. The discursive practices of the official curricula constructed the student as transitioning from child to young adult. The official role of those in the school community was to enforce the values of the home and parents during this suspended state of transition. To do so the school culture reformed the typical autonomous activity of teaching in a Visual Art class into a distributed process by conforming teacher practice to the official philosophy. The ways in which student ‘lifers’ of traditional schooling experienced the operationalized and ideal curriculum directed the curriculum and pedagogical practices of the teacher. Critical thinking and social responsibility emphasized in the perceived curriculum were passively resisted by student participants performing the visual acts of respect and integrity perpetuated by the Key Visuals and Ten Tenets of traditional schooling. These acts served to redirect teacher practice to maintain the aims of the teacher through pedagogical practices and curriculum design that closely mirrored the teacher-centered approach.

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Johnson, Sally Ann. "The art specialist as a multicultural resource for the classroom teacher." Online version, 1998. http://www.uwstout.edu/lib/thesis/1998/1998johnsons.pdf.

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Chisale, Paseka Blessing. "Institutional practices shaping art education student-teacher attitudes towards community engagement." Diss., University of Pretoria, 2002. http://hdl.handle.net/2263/78507.

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The White Paper of 1997 on Higher Education Transformation formed the basis from which community engagement (CE) was adopted as a core purpose of higher education (HE) in South Africa, together with teaching/learning and research. However, CE is often marginalised within the HE space with perceptions of it being an add-on and a “nice-to-have” activity. This is of course due to a lack of conceptual clarity of CE, which is often influenced by the variety of contexts in which CE should be practiced by higher education institutions (HEIs), hampering the progress and implementation of CE within respective HEIs. The institutional practices of CE and the fostering of civic-mindedness in students and awareness of the role they are to play in socity thus become the responsibility of respective HEIs and faculties in relation to their contextual milieu. In this qualitative case study I seek to understand the role institutional practices of CE at the faculty under study have played in shaping Art Education student-teacher (AEST) attitudes towards CE. To acquire this understanding the study makes use of an Art-Based Research method consisting of reflection drawings as the primary means of collecting data. Incorporating the voice of AESTs’ in the timely debate about CE within HE provides the Faculty of Education with valuable insights that inform CE practices from AESTs’ authentic experiences of CE. The study reveals that while Methodology of Art Education (JMK/ART/Fourth year)1 exists within the auspices of the University of Pretoria’s Faculty of Education, AESTs contrarily regard the faculty as not playing a significant role in the shaping of their attitudes, understanding and definitions towards CE.
Dissertation (MEd)--University of Pretoria, 2019.
Humanities Education
MEd
Unrestricted

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Schlemmer, Ross H. "(Re)articulating the Identity of the Artist/Teacher." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1398957000.

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Miller, Gwendolyn. "The impact of high definition training on teacher perceptions of the principal’s leadership, parent support, and student improvement." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2003. http://digitalcommons.auctr.edu/dissertations/3464.

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The study was designed to examine the impact of high definition training on teacher perceptions of the principal’s leadership, parent support, and student improvement. A review of the literature supports the critical role the principal plays in influencing learning and the total climate of a school. Effective schools research consistently identifies the principal’s leadership as being key to effective schooling. The research design is a quasi-experimental design. The instrument used in the study was a teacher questionnaire. Questionnaires were administered to a total of 64 elementary school teachers. An item-to-scale correlation using the Cronbach Alpha Coefficient Method was used to validate the validity and reliability of the instrument. The reliability was .85 and above for each item. The following are the findings of this study.

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Hsu, Karen Ching-yi. "Teaching and learning on-line in in-service art teacher education the Ohio State University experience /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101769716.

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Smith, Joy Topaz 1971. "A Saturday Youth Arts Program: Implications for preservice art education." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/291373.

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A supplemental Saturday Youth Arts Program was examined to determine whether or not its implementation into a preservice art education program better prepared students for student teaching. This work presents two case studies. Data from the first study, which looked at sixteen preservice art teachers, found that: (1) students lacked adequate knowledge on how to write discipline-based lesson plans; (2) community outreach was undervalued by students and (3) there was a lack of sufficient preparation time to take on all the variables involved in operating the lab school. The second study followed one of the students into her student teaching to look for professional growth in four areas: (1) classroom management; (2) curriculum and lesson planning; (3) community outreach and (4) organizational skills. Findings indicated that students can achieve high levels of professional growth as a result of this kind of experience, thus they are better prepared for student teaching.

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Sweat, Ashley Dawn. "What is the Nature of the Professional Practice of Artist-Teachers? Four Case Studies." Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/art_design_theses/3.

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Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

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Ammar, Khalifa Sharef Salem. "PROPOSED GUIDELINES FOR THE IMPROVEMENT OF THE ART AND ART TEACHER EDUCATION PROGRAMS AT AL-FATEH UNIVERSITY IN LIBYA." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/298784.

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Visual arts education provides the knowledge, skills and attitudes necessary for students to become more responsive and responsible citizens who are aware of the interaction among the visual, aesthetic, economic and social aspects of their culture. A well-prepared visual arts educator is an essential contribution to the quality of student learning in this area of education. The purpose of this study was to suggest a series of guidelines and recommendations for the improvement of the art and art teacher education at Al-Fateh University in Al-Jamahiriya (Libya). Development of these guidelines and recommendations was based on the following steps: (1) Review and examination of developments and trends in Al-Jamahiriya's formal education system. These included secondary education, teacher preparation, and visual art education. (2) Examination of the present art education program at Al-Fateh University and its role in preparing qualified visual art teachers for Al-Jamahiriya's secondary schools. (3) Comparative study of selected factors pertaining to art education teacher preparation at Al-Fateh University and four exemplary American universities. (4) Library research regarding current thought and practices in the areas of visual art education and teacher preparation. A questionnaire was also developed and sent to the art education department at Al-Fateh University to help obtain descriptive data concerning the teacher education program. A panel of experts at the University of Arizona had identified four exemplary American university art education programs. These programs were examined as part of this study. Recommendations are made regarding selected improvements in the art and art teacher preparation programs at Al-Fateh University.

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Triggs, Valerie. "Art as ecological practice : a curriculum of movement for teacher education methods." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43427.

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This a/r/tographic research investigates the partially accessible forces of movement that engender and co-substantiate experience. It renders an image of a vital socio-geologic ecology consisting of feelings of the energies of movement of all bodies made through struggles of rendering manifest the fullness of experience in its every example. In regards to teacher education methods, this is addressed as both an ecological and aesthetic issue. Feelings of capacity for being affected and for affecting generate more reality. Rather than attempting to separate, unqualified feelings emerging within affects’ temporal events add qualities with an existence and energy of their own. Increasing standardization, accountability schemes and attempted control of quality pose problems for the ecological significance of feelings of capacity to vary. This research addresses methods rather than just the subjects engaged in them to generate an image of a more tightly imbricated ecology that also includes the affects of our practices. It seeks educational experiences where subjects of all kinds subsist to the extent that they resonate with feelings of capacity for being moved and for moving within this ecology. Each chapter re-poses the issue of conveying experience’s simultaneity of continuity and discontinuity. Aesthetic practice and art-making are needed for feelings that precede cognition and for more repeated availability of making determinations within experience which are not simply opportunities for direct exchange but rather tokens of trust for invention and unprecedented space. Drawing concepts from a variety of disciplines, each chapter re-poses educational experience in ways that do not put methods in charge and through aesthetic experience, reconnect to the world by opening to the non-human world of which we are a part. Tending towards teacher education as currere, a living curriculum, this study suggests three qualities of assessment: availability, arrival, and the analog. Through initiating and proliferating creative practices, a/r/tographic methodology in teacher education is encouraged to draw on art’s methods of generating productive entanglements. Repeated affective engagement in creative practice is suggested towards augmenting and sustaining a more inhabitable present and future.

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Malebana, Motepele Boniface. "An investigation into contemporary black art teacher training programs in South Africa /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487950153603261.

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Nateman, David S. "An historical examination of the development and revision of art teacher education and certification standards in Ohio between 1802 and 1974 /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266362335846.

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Dissertations / Theses on the topic 'Definition of the art teacher'

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