Faculty of Education

This study has argued that the learning context should be linked not only with the student's growing knowledge and skill within the curriculum but it should also allow for an understanding of how that curriculum connects and relates with the democratic society of work and leisure. It is further argued, that as, a consequence of arriving at that understanding; students acquire a sense of empowerment and control over their lives. In Chapter 1, the study establishes the historical background to the Artists and Architects in Schools Programs, and the role of the art teacher and the artists and architects within those programs. As an introduction, Chapter 1 also briefly explains the following Chapters. Chapter 2 discusses the history and development of the state community school movement, its-establishment in Victoria, and the radical nature of its underpinnings. Reference is also made to the private alternative school movement. In Chapter 3, the process. of decision making in Croydon Community School and Sherbrooke Community School in respect to their Artists in Schools Programs is examined. In Chapter 4, the issues discussed are: three orientations to the curriculum, the American Discipline Based Art Education, and the recent curriculum guidelines of the Victorian. Ministry of Education. A comparison is made of the approaches to learning and negotiating the curriculum between Swinburne Community School and Croydon Community School. Finally a summary is presented of negotiation and the arts integration of the curriculum during the Artists and Architects in Schools Programs at Croydon Community School in 1982. In Chapter 5 some of the movements towards participatory democracy throughout the 20th century in industry and in social, political and business institutions by workers, residents and other concerned groups through control by that means of the workplace, the means of production, and the neighbourhood are examined. Reference is made to their philosophic basis and the parallel movement of the community schools in Victoria. In Chapter 6 the history of the development of the Artists and Architects in Schools Programs is examined. Comparison with and evaluation of the criticism of the British and American Programs is also included to illuminate the role of the art teacher and the artists and architects. In Chapter 7, the arts integration of the timetable for both the Artists and Architects in Schools Programs at Croydon Community School in 1982 and 1983 is evaluated: Note is also taken of the consistent philosophic approach. A brief comparison is made with other Artists and Architects in Schools Programs to elucidate the theme of whole school community involvement. In Chapter 8, Community Arts, have been defined and discussed in relation to the ideologies that motivate the management of community schools. Note has also been taken of community arts practice in Britain and America as a comparison with the Australian context. The potential for the relationship of the community artist with the community school is also evaluated. In Chapter 9, a Creative Arts Curriculum Model for Community Schools has been designed to provide a comprehensive arts curriculum with a contextual basis for the growth of the whole person. The design allows for decision making through participation to be practised to provide the framework for the development of an arts curriculum relevant to contemporary society in the 1990's. In concluding, Chapter 10 has examined, evaluated and clarified a number of key themes which are the central elements to the writer's thoughts. These are: the role of negotiation and participatory decision making in developing a democratic curriculum, and the role of art within that context. Observation is also made on the way the themes relate to the events of the 'real world'. A brief note is made of possible areas for further research. Finally, a comment is made on the relevance of the community school in the reorganised system of the Victorian Ministry of Education forward into the 1990's.

The major objectives of this study are to identify and explain the events, changes and culture of the Gippsland School of Art. The study follows an historical survey across a twenty-five year period from 1971 to 1995. The study is a re-construction of selected events from the perspectives of people who have been directly affiliated with the School. It commences with a contextualisation of the educational environment of the seventies, and a brief summary of the establishment of Gippsland Institute of Advanced Education (the institution to which the School was originally attached), which emanated from the Yallourn Technical College. The twenty-five year period has been divided into four chapters (2,3,4, and 6) as a means of segregating periods of particular influence. Specific topics discussed within each chapter are: Course developments; staffing and student statistics; physical resources; visiting artists and the social context. The four main chapters also include comments from staff and students. Chapter 5 summarises the initial implications of recent changes to the Federal Government's Higher Education Policy. It becomes apparent throughout the study that a multitude of factors have contributed toward the School's created and ever-changing environment, and that the change process is initiated and propelled by a plethora of internal and external influences. Qualitative research methodology has been applied as a data collection instrument and analytical procedure. This has enabled the acquisition of a variety of data and an abundance of rich first-hand accounts, many of which have been reported within this historical survey. The study concludes with a summary of the scope of the School's operations and briefly explains the role it has played as a catalyst to the growth of the Latrobe Valley visual arts community.

Faculty of Education - Theses

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