College of Fine Arts

Reveals the journey of a new teacher of theatre. Takes readers on her journey of self-discovery from student to student teacher to bi-lingual theatre teacher. Raises timely questions about the boundaries and barriers felt as drama is taught in unfamiliar settings. (SG)

In 2012, the Austin Independent School District reported that over 60 percent of its students identified as Hispanic. However, the number of theatrical offerings for children including Latino stories or Latino/a characters on Austin stages is staggeringly disproportionate to the number of Latino children living in the community. Mariachi Girl is a new bilingual Spanish/English musical for child audiences. This paper articulates and analyzes research findings from surveys collected from children, teachers, and care givers who saw the production. The paper introduces the term culturally responsive artistry and offers new perspectives and suggestions on how arts institutions and theater educators can form lasting relationships with minority communities. IJEA Vol. 15 No. 20 http://www.ijea.org/v15n20/ 2 Pre-Show Experience: A Case for ‘Culturally Responsive Artistry’ While leading a talk-back following a performance of José Rivera’s Boleros for the Disenchanted at the Huntington Theatre...

This reflection considers the nuances of white theatre teacher/ practitioners confronting race and racism in educational drama and theatre spaces. The author invites her white peers to reflect on theory and individual and collective praxis given discrete and shared identity markers. The author shares lessons learned through a variety of experiences, including as a guest at an artsbased youth programme focused on Indigenous identity reclamation.

The Texas State Board of Education has recently approved and is implementing new state adopted standards. One segment of the standards, titled Historical and Cultural Relevance articulates the expectation that students will explore diverse cultures. As the state mandates that teachers include culturally diverse perspectives, university programs preparing students for a Texas theatre teaching certificate must consider how they prepare teachers to meet these state standards. This article advocates for more diversity in stories and storytelling in theatre teacher preparation programs, examining la Pastorela (or The Shepherd's Play) as one example of an enduring title in Mexican American communities. Dating back to the early 1500s and first performed in the Americas by Indigenous Mexicans for Spanish soldiers, la Pastorela has continued to endure and evolve throughout the regions where it was first performed. This article offers an historical analysis of how la Pastorela was brought to and developed in the Americas and how it has transformed over the centuries. The article further encourages university theatre programs to recognize this often dismissed critical tradition as one that deserves to be witnessed in order to teach a more inclusive version of our history, at the university level and therefore in K-12 schools.

Throughout history many artists have turned to the past and sought to explore how the use of ancient symbols, motifs, and archetypal themes of antiquity could be applied in a contemporary art context. My research, as a fine art practicioner, seeks to continue this enquiry through a creative process grounded specifically on the study of the archaic art of Cyprus, 8th-5th century BCE. Cyprus during the Archaic Period developed its own artistic idiom, which was unique to the island.

There was a time in Cypriot archaeology that commentators dismissed the ancient Cypriot art and did not take it on its own merit. Nevertheless, nowadays the archaic artefacts are treated as works of art and are appreciated by the recent generation of scholars for their originality in style and aesthetic qualities. This research, therefore, involved the study of the actual artefacts, mainly in Cyprus and the British Museum, in order to identify the artistic ideas behind the ancient motifs and the characteristics that make archaic art so unique. The collaboration with specialized archaeologists was necessary to facilitate the archaeological aspect of the research.

The practice based element of the research involves the creative exploration of the study of the archaic art through drawing, ceramic sculpture, digital art and installations. The main aim of the creative project is to make the archaic art relevant to the modern viewer, and link archaeology and art in the understanding of antiquity through re-creation. Nevertheless, the archaic symbols were part of a society that assigned meaning to them and today their symbolism cannot have the same meaning to a 21st century audience. For this reason, in my creative investigation I focus on the mood and on the artistic and aesthetic values of the archaic art of Cyprus, which survived the passage of time. The art work thus, reapplies certain characteristics of the archaic art, -such as the direct visual language, aesthetic sensibility, playfulness, animated character and decorative nature-, and creates a new experience for the contemprorary viewer. Furthermore, in my art work I focus on the parallels of the Cypro-Archaic art to child art and toys, which are similarly playful and full of life.

The theoretical research investigates the concept of agency in art, and specifically the agency in the archaic art of Cyprus and in my own art work. There are many indications that in ancient cultures, objects were considered to have their own life and were treated as such; this would then license the objects to also act as agents in their own right. Similarly, my study and contact with the actual ancient art made me realize that the artefacts are still ‘alive’ and can operate as agents or channels of communication with the ancient past. Therefore, in my art work I also seek to communicate the idea of the living object, which is infused with life-force energy and becomes a vessel of communication.

To conclude, the main aim of this research is to evaluate the possible contribution of studying antiquity as a means of expanding the contemporary art practice and explore new ways of interpreting, recreating and re-imagining the past through the perspective of an art practitioner.

This study evaluates primary students, aged 6-11, exploring their creation of a
digital and virtual self, while learning they learned positive uses of blogging on Facebook for a research study at a small computer art camp. Using action research as well as a pre- and post survey that evaluated the growth of knowledge in digital art, along with separate analysis of meanings and expression identified symbols, colors, feelings, and subject matter.
This study offers an opportunity to combine computers, art, learning, and playing. Campers learned to use MS Paint, Adobe Photoshop, and the Virtual World of Pet Society to create a digital self in a decentralized classroom. This study demonstrated that primary students are capable of creating meaningful digital art and a virtual self with professional, 21st century technology. The campers in their self-portraits established individual meaning.

Primary students need to learn current online technology as a part of art education to prepare for the future. This study took place during a spring break camp that combined aesthetics, primary children (ages 6-11), and digital technology. This study used action research to illustrate the social and aesthetic potential of Pet Society, a virtual world for children. Using Pet Society the children created a digital society, daily captured images of their avatars, posted them on Facebook, and documented their creation, evolution, meanings and opinions by posting comments and answering an exit survey. This study showed positive use aesthetic choices in a virtual world. Campers captured themselves in their main living room doing their favorite activities. Daily they altered their avatars by changing their facial features and clothing accessories. Other aesthetic preferences include holiday collectibles and petlings. By posting pictures with comments the campers extended the communication regarding their aesthetic choices even after camp had ended. This study afforded young children the ability to make aesthetic choices in a virtual world and learn the impact of how aesthetics affect each other.

Abstract
Primary students need to learn current online technology as a part of art education to prepare for the future. This study took place during a spring break camp that combined aesthetics, primary children (ages 6-11), and digital technology. This study used action research to illustrate the social and aesthetic potential of Pet Society, a virtual world for children. Using Pet Society the children created a digital society, daily captured images of their avatars, posted them on Facebook, and documented their creation, evolution, meanings and opinions by posting comments and answering an exit survey. This study showed positive use aesthetic choices in a virtual world. Campers captured themselves in their main living room doing their favorite activities. Daily they altered their avatars by changing their facial features and clothing accessories. Other aesthetic preferences include holiday collectibles and petlings. By posting pictures with comments the campers extended the communication regarding their aesthetic choices even after camp had ended. This study afforded young children the ability to make aesthetic choices in a virtual world and learn the impact of how aesthetics affect each other.  pages 197-203

This study evaluates primary students, aged 6-11, exploring their creation of a digital and virtual self, while learning they learned positive uses of blogging on Facebook for a research study at a small computer art camp. The methodology was action research as well as a pre- and post questionnaire that evaluated the growth of knowledge in digital art, along with separate analysis of their meanings and expression in their virtual galleries that identified symbols, colors, feelings, and subject matter.

This study offers an opportunity to combine computers, art, learning, and playing. Gee built on Vygotsky’s theory of play by showing that digital games enable children to create a ‘cycle of expertise’ and thus to develop strategies to cope and problem solve. This study puts these theories in action by offering an opportunity to combine computers, art, learning and playing. The researcher/instructor monitored the secure social network in order to create a safe Internet experience to protect the campers’ privacy. Campers learned to use MS Paint, Adobe Photoshop, and the Virtual World of Pet Society to create a digital self in a decentralized classroom.

This study demonstrated that primary students are capable of creating meaningful digital art and a virtual self with professional, 21st century technology. Comparison of pre and post questionnaire indicated improvement in identifying digital art. The campers in their self-portraits established individual meaning. These campers were capable of creating meaning, digital and presenting themselves when given the opportunity, materials, technology, and challenge.

The research project was designed to understand the lived experience of general elementary teachers teaching art when they are minimally trained and art education is devalued in schools and educational policy. The research follows hermeneutic phenomenology as it explains and gives voice to the lived experience. The heuristic foundation of this research is a reflective-formative style of inquire that is delicately entwined in the practice of language. The foundation of the research relies on Dewey’s theory of knowledge (experience + reflection = new knowledge). Teachers were observed for one art lesson, to create a foundation to their everyday activity followed by a reflective discussion of the observation. Bricolage was employed to interpret meanings and analyze findings. The small case study (n = 9) created individual narratives of each participant’s experience. Challenges from teaching art included budget, curriculum, and training. Reflections included themes ranging from pedagogy, planning, to self-improvement. The participants followed Dewey’s theory of knowledge in order to actively contribute to their own practice as well as contributing to the field of education. Further, exploring the pedagogy of art education posed additional thought and consideration to the teachers for their future practice and incorporation of the work of art, which is active, therefore not the same as the product of art into their classroom.

This research project was designed to understand the lived experience of nine general practitioners teaching art; three from primary schools in the
UK and six from elementary schools in the US. It used a reflective-formative style of inquiry, relying on Dewey’s (1933) theory of knowledge
(experience + reflection = new knowledge). Teachers from the UK and the USA were observed for one art lesson, followed by a reflective discussion
of the observation. Various themes emerged from the analysis of the participants’ narratives, including challenges of teaching art relating to budget,
curriculum and training, as well as concerns over pedagogy and planning.

The study and practice of art and design education incorporates the use of technology tools, processes, and resources in a variety of educational settings, and local, global, and international contexts, that include creativity, innovation, and media arts as well as interdisciplinary initiatives such as arts integration and STEAM (Science, Technology, Engineering, Arts, and Mathematics). Assessment + Evaluation Demographic Data Social Justice New Ideas + Directions Translations was rst introduced as an NAEA publication in 1991 to bridge research and practice, and to assist all visual arts educators in understanding the importance and applicability of research in the eld of art education. In an e ort to reenergize Translations and enhance its value as a member bene t, the Professional Learning through Research (PLR) Working Group of the NAEA Research Commission has assumed editorial responsibilities for this peer-reviewed publication. Find out more here: www.arteducators.org/research/naea-research-commission.

The research project was designed to understand the lived experience of general elementary teachers teaching art when they are minimally trained and art education is devalued in schools and educational policy.  The research follows hermeneutic phenomenology as it explains and gives voice to the lived experience. The heuristic foundation of this research is a reflective-formative style of inquiry that is delicately entertained in the practice of language.  The foundation of the research relies on Dewy's theory of knowledge.  Teachers were observed for one art lesson, to create a foundation to their everyday activity followed by a reflective discussion of the observation.  Bricolage was employed to interpret meanings and analyze findings.  The small case study created individual narratives of each participant's experience.  challenges from teaching art included budget, curriculum, and training.  Reflections included themes ranging from pedagogy, planning, to self-improvement.  The participants actively contributed to their own practice as well as contributing to the field of education.  Further, exploring the pedagogy of art education posed additional thought and consideration to the teachers for their future practice and incorporation of the work of art, which is active, therefore not the same as the product of art into their classroom.

The evolution of artists as teachers, teachers aa artists and artist teachers.  The article highlights current exhibitions focusing on art educators as artists as well as the discussion of the evolution and debate of teachers being artists

This study explores pre-service art educators' use of reflection as a part of their teacher certification.  Following Dewey's theory of knowledge, a case study taking action research approach is designed to have preservice students reflect weekly and at the end of the semester to explore lessons learned, experiences and challenges during their practicum.  The reflection of this researcher compares Gibbs theory of reflection with Feldman's art criticism on the one hand, and it employs Eisner's theory of art making to learning on the other hand.  Analysis explores how they utilized Lynda Barry's Basic Quick Diary Format to reflect and combine art into their visual journal practice. Findings recognized necessary modifications in the program that need to be addressed to meet the student needs and support confidence levels in various teeing areas, which includes assessment, classroom behavior and differentiated instruction.  Aside from the confirmation that the use of reflection in teaching di connect theory an practice, the research also reports that reflection is still in use by the art educators even though they are no longer pre-service teachers.