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Principles of Effective Practice: A ...

Ritz Swain, Sarah.

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Principles of Effective Practice: A Case Study of Creativity in Art Education.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Principles of Effective Practice: A Case Study of Creativity in Art Education./
Author:	Ritz Swain, Sarah.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	176 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22621575
ISBN:	9781687983664

Principles of Effective Practice: A Case Study of Creativity in Art Education.
Ritz Swain, Sarah.

Principles of Effective Practice: A Case Study of Creativity in Art Education. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 176 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ed.D.)--Northeastern University, 2019.

This item must not be sold to any third party vendors.

This grounded theory case study examines contemporary models for art education that educators perceive to promote creativity with the goal of identifying principles of effective practice. By placing emphasis on teachers' perspectives, experiences, and practices the study develops a broader understanding of creativity in visual art education, as well as uncover the nuances of creativity in the art classroom. The research questions that guide this study are: How do art teachers perceive creativity in art classes and its role in promoting creativity in education? What modes, models, and practices do teachers find most effectively cultivate creativity in their art classes? The primary means of data collection for this study were one-on-one semi-structured interviews, reflective memoing, and artifact collection. The principal goal of this study's data analysis process was to identify creativity definitions and principles of effective practice through teacher understanding and interpretation. Data analysis began with the collection of artifacts during the initial recruitment of teachers. The data analysis developed as the researcher memoed the interviews, and the interview data were transcribed. A coding system for the transcriptions evolved during the analysis process. Member-checking of interview transcriptions followed the coding processes to identify common themes or points within the data collection. Identification of emerging themes, through coding, allowed for the data to be explored. This case study is one of the first to provide detailed examples of teacher-defined principles of effective practice for creativity in art education from the perspective of three secondary art teachers. The principles of effective practice for cultivating creativity entail reconciling the teacher's perception and definition of creativity, which is an outgrowth of their experience and identity as artists, and student perceptions of creativity-using the creative process as a tool for teaching, learning, and curriculum development and contextualizing the steps of CPS and constructivist educational theory to expand and explicitly teach creativity to art students. Other major findings included practitioner and model-based deficiencies in the CPS model, in which mess finding was not discussed. As well as the NCAS anchor standard, presenting, was disconnected from the CPS. As a result, two implications for practitioners and for scholars are determined. First, a need to establish a common creativity practice among schools, programs, and districts, and second a need to further investigate and integrate the properties of mess finding into classroom practices. Discussions of each of those implications are presented, and a suggestion that a study with a larger sample size that focuses on the use of mess finding, with participants from other locations, would deepen the findings and help answers additional questions raised by this study.

ISBN: 9781687983664Subjects--Topical Terms:

516579
Education.
Subjects--Index Terms:

art education

Principles of Effective Practice: A Case Study of Creativity in Art Education.
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520 $a This grounded theory case study examines contemporary models for art education that educators perceive to promote creativity with the goal of identifying principles of effective practice. By placing emphasis on teachers' perspectives, experiences, and practices the study develops a broader understanding of creativity in visual art education, as well as uncover the nuances of creativity in the art classroom. The research questions that guide this study are: How do art teachers perceive creativity in art classes and its role in promoting creativity in education? What modes, models, and practices do teachers find most effectively cultivate creativity in their art classes? The primary means of data collection for this study were one-on-one semi-structured interviews, reflective memoing, and artifact collection. The principal goal of this study's data analysis process was to identify creativity definitions and principles of effective practice through teacher understanding and interpretation. Data analysis began with the collection of artifacts during the initial recruitment of teachers. The data analysis developed as the researcher memoed the interviews, and the interview data were transcribed. A coding system for the transcriptions evolved during the analysis process. Member-checking of interview transcriptions followed the coding processes to identify common themes or points within the data collection. Identification of emerging themes, through coding, allowed for the data to be explored. This case study is one of the first to provide detailed examples of teacher-defined principles of effective practice for creativity in art education from the perspective of three secondary art teachers. The principles of effective practice for cultivating creativity entail reconciling the teacher's perception and definition of creativity, which is an outgrowth of their experience and identity as artists, and student perceptions of creativity-using the creative process as a tool for teaching, learning, and curriculum development and contextualizing the steps of CPS and constructivist educational theory to expand and explicitly teach creativity to art students. Other major findings included practitioner and model-based deficiencies in the CPS model, in which mess finding was not discussed. As well as the NCAS anchor standard, presenting, was disconnected from the CPS. As a result, two implications for practitioners and for scholars are determined. First, a need to establish a common creativity practice among schools, programs, and districts, and second a need to further investigate and integrate the properties of mess finding into classroom practices. Discussions of each of those implications are presented, and a suggestion that a study with a larger sample size that focuses on the use of mess finding, with participants from other locations, would deepen the findings and help answers additional questions raised by this study.
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