O desenho da criança de cinco anos : investigando/refletindo as formas produzidas a partir de imagem da arte

O desenho infantil comprova significados e sentidos estabelecidos historicamente e revela experiências comuns da criança pensar e idealizar o mundo. Diante dessa constatação, o cerne desta pesquisa é investigar e refletir sobre as nuances no desenho da criança de cinco anos quando apresentadas às imagens de arte, analisando e compreendendo como ela se expressa verbal e graficamente diante de informações mediadas pelo professor de arte, quando manifestam suas experiências individuais e/ou em grupo, representando suas vivências e apropriando-se da linguagem artística, e assim constituindo-se como autoras. Para sustentar a pesquisa, adotamos os princípios da pesquisa qualitativa utilizando como recurso a observação participante em sala de aula, que vem ao encontro às nossas propostas por oportunizar o registro de dados in locus, potencializando assim, a estratégia da produção de dados. Os sujeitos dessa pesquisa são vinte e uma crianças de cinco anos que frequentaram o Grupo Cinco, do Centro de Educação Infantil Criarte/Ufes. A pesquisa buscou entender o desenho infantil como expressão intrínseca da criança, que, oportunizado por ações que colaboram para esse fazer, dará significados ao objeto, que, associado a sua história, sua vivência, possivelmente contribuirá para a formação artística e imagética da criança, significando sua expressão e criação. Trazemos para esse estudo conceitos do desenho infantil, bem como questões que abarcam todo o processo de elaboração e maturação do desenho, fundamentados nas pesquisas de Rosa Iavelberg, Analice Pilar, César Cola, Arno Stern e Viktor Lowenfeld, dentre outros, os quais possibilitaram nossa análise a partir do desenho e da fala das crianças. As reflexões apresentadas procuram contribuir para compreendermos o processo de diálogo, envolvimento e representação gráfica das crianças com as imagens de arte.

Formação continuada do professor de arte: dialogia com a experiência

Pós-graduação em Artes - IA

Professores de artes: formação continuada e os reflexos na sala de aula das séries iniciais

Pós-graduação em Artes - IA

Imagens e metáforas: a (re)construção do trajeto e da história de uma arte-educadora

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Desenho de deficiência visual: uma experiência no ensino de artes visuais na perspectiva da educação inclusiva

Over the past 30 years, Art Education in interface with disabilities has been a subject of increasing interest in research in academia, especially with regard to Special Education, but still has some shortages in terms of socialization studies to discuss this type of teaching from the perspective of inclusive education. In this scenario, this paper presents an analysis from the field of teaching Visual Arts in the context of school inclusion, with emphasis on teaching drawing to the visually impaired. The conducted literature indicates a number of authors who discuss teaching drawing to people with visual disabilities, who are dedicated primarily to the Special Education context. In this sense, the shortage of research that discuss this teaching from the perspective of inclusive education, this research aimed at the inclusive approach to teaching drawing in the school context. Thus, the aim of this study was to develop a proposal for a pedagogical intervention in Visual Arts, with reference to drawing and its construction process, with the participation of seeing and unseeing students. Therefore, the methodological approach, which was qualitative, was the intervention research, in the light of the Bakhtinian principles of dialogism and otherness, with exploratory study characteristics. The locus of the research was the State School Admiral Newton Braga Faria, which is located in Alecrim, on the East Zone of Natal / RN and is near the Institute for Education and Rehabilitation of the Blind - IERC / RN. The class chosen for intervention was the 7th grade “C” afternoon shift, which had children aged 12 to 16, with 27 students enrolled, three students with disabilities: 02 blind girls and 01 deafblind boy with light hearing and visual loss. As interlocutors of the research, we could also count on the Art teacher who served as a collaborator, as well as teacher in the school’s Multifunction Resource Room. The instruments and research procedures were observation, semi-structured interview, field diary and the photo / video recording. In the development of research, we conducted 10 workshops with multisensory teaching sequences, articulating the physical, tactile and graphical expressions as intrinsic to the reading and production of drawing for both seeing and unseeing students. The process and data built on research allowed for a reflection on cultural experiences with drawing in the school context and on the interactions between seeing and unseeing students in the production and analysis of tactile-visual drawings. They also point out the construction of a teaching approach to drawing, in the context of the common class, from educational workshops that enable artistic and aesthetic interactions from the perspective of school inclusiveness. Thus, we argued that the mobilization of the tactile, physical and graphical expressions can be adopted in a multisensory approach that enables a pedagogical focus that involves all students and is not restricted to the presence of students with visual impairment.

An Examination of the factors that shape the subjectivities of female art students in Initial Teacher Training

The school subject of Art and the profession of the primary school teacher are gendered female and both are considered low status within the field of Education and other professional areas of society. A number of sociological studies have examined the impact of gendered socialisation and habitus on females’ career choices and various educational initiatives have been put in place over the years to encourage females to select subjects and/or pursue career paths normally associated with males. Yet Art and primary school teaching continue to be a popular choice with middle class girls. Based on a critical ethnographic study of female BAED Art students, who are training to be primary school teachers, this study is an examination of the many factors, historically and contemporaneously that have shaped and continue to shape the subjectivities of females and frame their aspirations and ambitions. Within this discourse significant aspects of the history of Art and Art Education that have contributed to and influenced the construction of the female artist, and their consequent impact on artistically talented females’ personal identity as artists, are also examined.

Morse's manual of art : a self teacher in all branches of deocrative art, embracing almost every variety of painting and drawing, on china, glass, velvet, canvas, paper and wood : the secret of all glass transparencies, sketching from nature, pastel and crayon drawing, etc. : illustrated /

Mode of access: Internet.

The art of the player-piano : a text-book for student and teacher /

Includes index.

Good practices and inclusive Art at the University: the image of the Artist/Teacher and Innovative Pedagogies

The aim of art, as transformer of the individual, has numerous sides which give the human beings a sense of enhancement and growth. It is considered by university the need for our students to take part of this process of social transformation in which they feel the need of helping the community when its members are at risk of social exclusion. Art is considered to be a means, a tool and a purpose for an artis-pedagogue to be used as a guide for the renewal. And the university is also considered as a focus of commitment by means of the development of good practices as well as adopting an open and innovative attitude to any changes aimed at living harmoniously within a more just society.

CREI-Sants. Educació, art i teràpia

Aquest article dóna explicació dels objectius fonamentals del model ecològic-contextual en el que se basa CREI-Sants (Centre de recursos educatius i d'Investigació de Sants), dedicat a l'atenció de nens, joves i adults amb diferents tipos de hándicaps integrats en grups heterogenis de població. Expressa les últimes tendències en tractament terapèutic basades en l'art i la creativitat, i dóna informació de les darreres activitats de caràcter sociocultural que es realitzen. El text, finalment, recull el manifest de l'Art i Creativitat en persones amb handicap, amb la finalitat d'influenciar en l'opinió pública a favor de la integració dels col·lectius afectats pels diferents tipos de dificultats.

The Art & Science of Learning Design

We live in an era defined by a wealth of open and readily available information, and the accelerated evolution of social, mobile and creative technologies. The provision of knowledge, once a primary role of educators, is now devolved to an immense web of free and readily accessible sources. Consequently, educators need to redefine their role not just ¿from sage on the stage to guide on the side¿ but, as more and more voices insist, as ¿designers for learning¿.The call for such a repositioning of educators is heard from leaders in the field of technology-enhanced learning (TEL) and resonates well with the growing culture of design-based research in Education. However, it is still struggling to find a foothold in educational practice. We contend that the root causes of this discrepancy are the lack of articulation of design practices and methods, along with a shortage of tools and representations to support such practices, a lack of a culture of teacher-as-designer among practitioners, and insufficient theoretical development.The Art and Science of Learning Design (ASLD) explores the frameworks, methods, and tools available for teachers, technologists and researchers interested in designing for learning Learning Design theories arising from findings of research are explored, drawing upon research and practitioner experiences. It then surveys current trends in the practices, methods, and methodologies of Learning Design. Highlighting the translation of theory into practice, this book showcases some of the latest tools that support the learning design process itself.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

The mismatch between results on parental involvement and teacher's attitudes : is convergence ahead?

Resumen tomado de la publicaci??n

Looking at teacher identity through self-regulation

Resumen tomado de la publicaci??n