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Art Education Programs Of The California State Colleges For Elementary Teachers

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Art Education Programs Of The California State Colleges For Elementary Teachers

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Content 70- 19,120
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RUEDY, Donna Gail, 1936-
ART EDUCATION PROGRAMS OF THE CALIFORNIA STATE
COLLEGES FOR ELEMENTARY TEACHERS.
University of Southern California, Ed.D., 1970 '
Education, theory and practice j
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University Microfilms, A X E R O X Company, Ann Arbor, Michigan j
0 Copyright by
DONNA GAIL RUEDY
1970
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED
ART EDUCATION PROGRAMS OF THE CALIFORNIA STATE
COLLEGES FOR ELEMENTARY TEACHERS
A Dissertation
Presented to
the Faculty of the School of Education
University of Southern California
In Partial Fulfillment
of the Requirements for the Degree
Doctor of Education
by
Donna Gail Ruedy
January 1970
This dissertation, written under the direction
of the Chairman of the candidate’s Guidance
Committee and approved by all members of the
Committee, has been presented to and accepted
by the Faculty of the School of Education in
partial fulfillment of the requirements for the
degree of Doctor of Education.
t l : i a ... Date.
Dean
Guidance Committee
Chairman
TABLE OF CONTENTS
LIST OF TABLES .....................
Page
iv
Chapter
I. THE PROBLEM.................................. 1
Purpose of the Study
Questions to be Answered
Hypotheses
Delimitations
Basic Assumptions
Procedures
Organization of the Remainder
of the Study
II. A CRITIQUE OF THE LITERATURE RELATING TO THE
STATUS OF ART EDUCATION IN PUBLIC SCHOOLS . 16
Historical Development
Values of Art Education
Present Threats to Art Education
Trends in Art Education
Chapter Summary
III. PROCEDURES.................................... 38
Securing an Endorsement
Survey of Related Literature
Determining Criteria for the Study
Developing the Questionnaire
Distribution and Return of Questionnaires
Return and Tabulation of Questionnaires
Chapter Summary
IV. PRESENTATION AND ANALYSIS OF THE FINDINGS . . 45
Size of the Colleges
Total Art Education Faculty
Methods of Class Instruction
Chapter Page
Evaluative Procedures of Effectiveness
Early Teaching Experience
Time Devoted to Art While Student
Teaching
Identification of Elementary Education
Candidates
Academic Backgrounds of Art Educators
Practical Experience of Art Educators
Community Responsibilities
Academic Background of Elementary Art
Supervisors
Practical Experience of Elementary
Art Supervisors
Evaluation of Pre-Service Training
Evaluation of Procedure
School District Procedures
Teaching Effectiveness
Chapter Summary
V. SUMMARY, CONCLUSIONS AND RECOMMENDATIONS . . . 92
Summary of the Study
Conclusions
Recommendations
BIBLIOGRAPHY........................................... Ill
APPENDICES............................................. 120
A. Cover Letters......................... 121
B. Questionnaire Forms....................... 127
« • •
XXX
LIST OF TABLES
Table Page
1. Total Enrollment of the California State
Colleges................................ 47
2. Course Offerings in Art for Elementary School
Teachers Derived from Catalog Listings . . . 48
3. Number of Art Faculty Involved in Teaching
Elementary Teaching Credential Candidates . . 51
4. Meetings of Art Education Faculty......... 52
5. Emphasis in Class Instruction as Indicated by
State College Art Educators............. 54
6. Procedures Utilized in Class Instruction . . . 55
7. Responses of Art Educators to the Question,
"What Other Art Courses Should be Required
of Non-Art Elementary Teachers?"....... 56
8. Selected Comments on the Major Concept Gained
from Art Course.......................... 58
9. Evaluative Procedures of Art Teaching
Effectiveness ................................ 59
10. Responses of Art Educators to the Question,
fT)o Your Students Have the Opportunity to
Teach Art to Children Prior to Student
Teaching?".............................. 60
11. Responses of Art Educators to the Question,
"How Much Student Teaching Time is Devoted
to Art Instruction?".................... 62
12. Responses of Art Educators to the Question,
"When Are Elementary Education Credential
Candidates Identified by the Art Department?" 63
13. Academic Background of Elementary Art Educators 64
iv
Table Page
14. Degree and Area of Concentration of Art
Educators.................................... 65
15. Practical Experience of Elementary Art
Educators ......................... ..... 67
16. Community Responsibilities of Art Educators . . 68
17. Responses of Art Educators to the Question,
"What More Do You Think Art Educators in
Teacher Training Institutions Can Do to
Bring about More Effective Art Teaching
in Elementary Schools?"..................... 70
18. Academic Background of Elementary Art
Supervisors.................................. 71
19. Highest Degree and Area of Concentration of
Art Supervisors............................. 72
20. Practical Experience of Elementary Art
Supervisors.................................. 74
21. Background of Elementary Art Supervisors . . . 75
22. Responses of Art Supervisors to the Question,
! , What Art Education Courses Do You Believe
Should be Required of Elementary School
Majors?" ..................... ....... 76
23. Responses of Art Supervisors to the Question,
"What Do You Consider the Most Important
Areas of Emphasis?"......................... 78
24. Responses of Art Supervisors to the Question,
"What Do You Believe is the Best Procedure
for Bringing about Effective Art Teaching?" . 79
25. Responses of Art Supervisors to the Question,
i r What Other Elective Courses Do You Believe
Would Assist the Classroom Teacher in
Gaining Competence in Art Teaching?" .... 80
26. Responses of Art Supervisors to the Question,
"What Other Experiences Prior to Teaching
Do You Believe Would Assist in Effective
Art Teaching?".............................. 82
v ____________
Table Page
27. Procedures in School Districts as Indicated
by Art Supervisors......................... 83
28. Responses of Art Supervisors to the Question,
, r What Type of Formal Relationship Exists
Between the School District and a Teacher
Training Institution?"..................... 84
29. Responses of Art Supervisors to the Question,
"Have any Surveys of Teacher Training or
Teaching Effectiveness in Art Been Done in
Your District?" . . . ....................... 86
30. Views of Art Supervisors Concerning
Effectiveness ................................ 87
31. Responses of Art Supervisors to the Question,
"What Do You Believe Creates an Ineffective
Art Teacher?"................................ 88
32. Responses of Art Supervisors to the Question,
"What More Would You Like the Teacher
Training Institutions to Do in Art
Education?".................................. 91
vi
CHAPTER I
THE PROBLEM
The California State Colleges are a unique develop
ment of tax supported public higher education for all
qualified students who are the upper third of the high
school graduating seniors. The eighteen colleges span the
state from Humboldt County in the north to San Diego in the
south. Current enrollment exceeds 170,000 full- and part-
time students. The faculty and administrative staff
numbers more than 9,000. The state colleges together with
the University of California comprise the publicly sup
ported state institutions of higher education.
Although the oldest of the colleges, San Jose State
College, dates back a century, the California State College
system under an independent Board of Trustees was created
by the Donahoe Act of 1960. Until that time, the colleges
were under the jurisdiction of the State Board of Educa
tion.
Although the state colleges represent the largest
system of public higher education in the Western Hemisphere
and one of the largest in the world, each college is noted
2
for it S' individuality in academic emphasis which makes for
a diversified system. The individual colleges, each with a
geographic, curricular and academic character of its own,
offer a solid basic program in the liberal arts and teacher
training.
The state colleges have functions established in
the Education Code as follows: (1) Teacher Education,
(2) Education for Occupational Competence, (3) Liberal
Education, (4) Preprofessional Education, (5) Regional
Educational Services, and (6) Field Services.
Under Teacher Education it is stated that the
colleges provide the education necessary for service in the
public schools and offer complete programs leading to the
teaching and school service credentials approved by the
State Board of Education for each college and to the master
of arts degree to serve the needs of persons who are
preparing to enter educational service.
Accreditation and certification standards often
dictate the course structure and curricula for art teacher
education. Until more extensive research is conducted to
determine an optimum curriculum, the tendency to be guided
by certification and accreditation requirements is apt to
continue.
In Foundation for Art Education. Barkan wrote that
the training of elementary school teachers in art is a
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unique task, since it encompasses the elements and prin
ciples of both art and educational theory. He describes
art education as the only discipline which acts upon the
connection between art and life. The art educator has been
defined by Barkan as one who has the subjective experience
in depth in art which he reconciles with objective view
points arising from disciplines surrounding art. Thus, the
role of an art educator and of art education in the teacher
education program becomes that of fusing raw materials from
all sources and disciplines into a unity (2:35-38).
The recent study of the National Education Associa
tion Research Division, "Music and Art in the Public
Schools," revealed that in well over half the schools sur
veyed, elementary classroom teachers were responsible for
the teaching of art. This survey suggested that elementary
school teachers, not art teachers, have the major responsi
bility and influence in guiding the development of young
children's artistic conceptions and skills (42).
The art experiences of children in elementary
schools relate to their teachers1 training in and attitudes
toward art. Therefore the art preparation of elementary
teachers can have much to do with the aesthetic lives of
thousands of children. Whatever the teachers learn from
their preparation will become the primary source of their
conceptions of art and art teaching--the basis of their
decisions about what art is to be taught and how it is to
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be taught in their classrooms. Johnson, in her article,
"Art for the Young Child" in the Sixty-fourth Yearbook of
the National Society for the Study of Education, in 1965
wrote that unless teachers know something better to do,
they often find success in ready-made projects or through
expedient teaching practices which do not fulfill the
creative process. The pre-service education in art should
provide potential teachers with the kind of background
through which they can develop sound and effective teaching
practices that they understand how and when to use. She
stated that a sound program should orient students to
continuous learning and discovery. It should objectify and
stimulate the student's perception of problems of learning
and teaching. Art education has always had learning goals
that were broader than product achievements (11:65). One
of the goals of learning in art, as endorsed by the
National Art Education Association, is the development of
the capacity for creative action as indicated by changes
in one's personality or self concept (38:130). Courses in
art education help the student to orient his personal art
learnings to the phenomenon of creative behavior in others
(38:122).
It has been discovered by Thomas that many college
students who are prospective elementary teachers can deal
with ideas fairly well in verbal forms, but that they
reveal quite primitive visual conceptualizations of these
5
same ideas in their art works. In his article, "New
Direction in the Training of Teachers" in the March 1968
issue of Art Education, he continued that when these
students find that the level of their personal involvement
can affect the qualities of their work, they can more
readily see the need to become aware of the personal
significance of the ideas they deal with in visual forms.
They will also become more able to take into account the
kinds of conditions that help or hinder them in achieving
this awareness (48:25).
The National Society for the Study of Education
found that, typically, students in elementary teacher
education have had very little experience in art before
taking art courses that may be required in their teacher
preparation programs. Only a few of them have had
instruction in art beyond elementary or junior high school.
Many of them have quite negative attitudes toward their
previous art experiences as well as their own art abili
ties, In a sense, NSSE found that teaching art to these
students is remedial teaching (44:240).
Eisner, in his 1967 article, "Challenge to Art
Education," wrote that the lack of background and lack of
time for study of art present a real challenge to those
responsible for the art education of these students. The
need to achieve quality of learning in spite of these
handicaps makes it imperative that the content of their
6
art courses be chosen wisely and taught well (37:28).
The quality of art teaching by teachers in the
elementary schools will depend in large measure on the
continued efforts of those concerned with their prepara
tion, to help them acquire the fundamental insights and
understandings of art and art teaching needed to teach art
well, according to the National Art Education Association
position statement, "The Essentials of a Quality School Art
Program" (58:4).
The California State Board of Education has
recently committed itself to the re-emphasis of the arts in
education. There has been talk to call a halt to the trend
toward curriculum imbalance (52:3).
The Statewide Fine Arts and Humanities Framework
Committee, appointed by the State Department of Education
in May 1967, is charged with the development of subject
area curriculum frameworks, including support materials and
teacher education recommendations, upon which local
districts can base instructional programs in art, drama,
humanities and music from kindergarten through grade
twelve.
The Art Framework Subcommittee proposes adoption of
a Statewide Art Curriculum Framework aimed at providing a
measure by which the local school district can evaluate the
effectiveness of its art education program, and according
to which it can determine the proper allocation of staff,
7
funds, facilities and instructional resources to support
the state recommended broad base-level of instruction in
art and elementary and secondary levels. In the absence
of a Bureau of Arts and Humanities Education within the
State Department of Education, and in view of the fact that
there is no state level art educational leader responsible
to the State Board of Education, teacher training institu
tions base their teacher preparation programs on the
curriculum structure and instructional sequence endorsed
generally by the State Department of Education.
The California Art Education Association has stated
that there is an immediate need to analyze art programs in
pre-service education of elementary school teachers in
order to implement their recommendations for the improve
ment of quality art instruction in the schools of
California. They state that teacher competency must be
recognized as the ultimate key in the improvement of art
instruction (33:7).
Purpose of the Study
The intent of this study was to:
1. Collate and examine information from the state
colleges regarding their teacher training
programs in art for prospective elementary
school teachers.
2. Discover and analyze consistencies and
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inconsistencies in the system of elementary art
education.
3. Review the appropriate literature in the field
under investigation and determine practices,
objectives, emphases and trends in art educa
tion.
4. Identify the most desirable aspects of a
coherent program of training teachers in
children's art with attention to curriculum,
articulation, and sequential planning.
5. Provide objective evidence concerning elemen
tary art education programs in the state
colleges.
6. Obtain data concerning the pre-service art
education and background of elementary school
teachers based on the judgment of experienced
art supervisors.
7. Compare the practices of art educators in
state colleges with the evaluation of elemen
tary art teachers by supervisors and the
literature.
8. Recommend means by which an effective pre
service training program can be evaluated.
Questions to be Answered
More specifically, answers to the following ques
tions were sought:
1. What are the stated objectives of the National
Art Education Association?
2. What are the stated aims of the California Art
Education Association in the training of
elementary school teachers?
3. What is the state requirement for art training
for elementary school teachers?
4. What are the California State College require
ments in art for elementary school teachers?
5. What are the course offerings in art for
elementary school teachers in state colleges?
6. What are the common elements in curricula of
the state colleges?
7. What are the major differences in curricula of
the state colleges?
8. What are the backgrounds and practical experi
ences of the faculty involved in art education?
9. What are the community responsibilities of the
art education faculties?
10. Have the state colleges established any evalua
tive procedures of art teaching effectiveness
of graduate teachers?
10
11. How do the actual offerings of the state
colleges relate to the objectives set down by
the state and national art organizations and
the expressed needs of supervisors in the
various elementary districts?
12. What appears to be an effective curriculum in
terms of the long-range goals of California
art education?
Hypotheses
This study was based on the following hypotheses:
1. There are significant relationships among the
aims and objectives of the National Art Educa
tion Association, California Art Education
Association and the California State College
Art Education faculties.
2. There are significant relationships between
the California state requirements for the art
education of elementary teachers and the art
curricula of the state colleges.
3. There are significant relationships between the
art education curricula of the state colleges
and the long-range goals of California art
education.
4. There are significant differences in the art
education curricula, faculty backgrounds, and
11
responsibilities of each state college.
5. There are significant differences in the objec
tives of the art educators at the state
colleges and the expressed needs and concerns
of various elementary school art supervisors.
Delimitations
The study was limited to a survey of the eighteen
California state colleges and that part of the curricula
devoted to the art training of prospective elementary
school teachers who are not art majors or minors. The
study utilized the information gained through the college
catalogs and through communication with those persons
involved in art education.
It was originally suggested that this study include
an inventory of the state college pre-service education of
first-year teachers. Upon investigation, it was found that
there is no bureau of arts and humanities education within
the California State Department of Education, nor any state
level art educational leader responsible to the California
State Board of Education, nor any other art teaching
evaluation agency or individual in the state. Further, it
was ascertained that the state college art educators have
no follow-up on their graduates, and most district art
supervisors do not have any studies on the new elementary
school teachers.
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Consequently, the study was limited to a survey of
elementary art supervisors who are presently in a position
to evaluate elementary teachers in their respective
districts, and to evaluate the effectiveness of pre-service
training.
The time element in this study was limited to the
academic year 1968-1969.
Basic Assumptions
The following assumptions are considered basic to
the questions proposed for the design of this study:
1.
Reliable data can be derived from the National
and State Art Associations and State College
Art Departments.
2. Identification of an effective pre-service art
education of elementary teachers can be
ascertained.
3. A coherent view of the total scope of the art
education of elementary school teachers as
practiced in the California State College
system can be derived from an analysis of the
available data.
4. Effectiveness of pre-service art education
training can be evaluated from an analysis of
supervisory responses.
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5. The development of a list of desirable prac
tices regarding art education in California can
be of use in establishing and evaluating pre
service art education programs.
Procedures
The procedures utilized in obtaining data for this
study are enumerated below. The investigator:
1. Requested endorsement for this study from the
California Art Education Association and the
individual Art Department Chairmen of each
California State College.
2. Reviewed literature related to art education
history, values, threats and trends.
3. Consulted college catalogs for basic elementary
art education course requirements and offer
ings.
4. Formulated instruments to be used in ascertain
ing further information from individuals
involved in art education at the state college
level.
5. Constructed instrument to be used in ascertain
ing further information from art supervisors
involved in evaluating elementary school
teachers.
14
6. Consulted framework proposal for criteria and
goals for art education in California.
7. Submitted preliminary questionnaire to art
educators and supervisors for evaluation.
Revised the instrument in accordance with their
sugges tions.
8. Submitted instruments to elementary art educa
tion faculty members and elementary art
supervisors.
9. From data collected, tabulated and analyzed the
responses in relation to catalog listings and
framework goals.
10. Wrote up findings and conclusions concerning
art education.
11. Made recommendations based on findings and
conclusions.
12. Indicated trends in art education for the
state.
Organization of the Remainder of the Study
The succeeding chapters of this study are organized
as follows:
Chapter II deals with a review of related litera
ture. It includes a historical summary, unique values of
art education, threats and trends in the discipline.
15
Chapter III details the research design.
Chapter IV includes the findings of the study.
Chapter V consists of a summary of the study,
conclusions based on the findings, and recommendations for
the future of art education in California.
CHAPTER II
A CRITIQUE OF THE LITERATURE RELATING TO THE
STATUS OF ART EDUCATION IN PUBLIC SCHOOLS
This chapter reviews and analyzes the existing
literature applying to the historical development of art
education, and the unique values of the curriculum of art
for the individual. Present problems in art education are
considered, with the latter portion of the chapter being
devoted to the present trends and efforts to increase
the status of art education in the public schools of
California.
Historical Development
A number of doctoral dissertations are devoted to
the history of art education. Belshe identified approxi
mately nine periods in American art education in his
dissertation, MA History of Art Education in the Public
Schools of the United States1 1 (64).
1. Art education was considered an educational
extravagance before 1870. It was taught by volunteer
teachers according to their own method and in isolated
situations.
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2. From 1870 to 1885, some form of drawing became
part of the public school curriculum in the larger cities.
However, much of the drawing was largely copybook exer
cises .
3. Certain other factors affected and modified the
formal drawings during the period of 1880 to 1900. Some
factors which affected this period included the study of
child psychology and the Herbartian concern for cultural
and aesthetic appreciations. Inexpensive art materials
became more available and professional organizations were
formed. Industry needed craftsmen and there was a strong
manual arts movement.
4. After 1900, art was conceived of as an integral
part of general education and was correlated with other
subjects in the curriculum, such as history, geography and
science. John Dewey's Art as Experience in 1935 gave
particular focus and flavor to the period that followed its
publication. In the 1930's art was considered as a "way of
life." Dewey saw that art educators were able to find a
multiplicity of meanings in his philosophy. He stated a
strong case against the pre-1930 notions of art as a
separate subject (5:3).
5. Since 1930, a great variety of methods, activi
ties and media have been introduced. According to Logan
(1955), in his book entitled Growth of Art in the American
Schools, considerable attention has been placed on the
18
worth of individual expression and on the promotion of the
personal and social growth of the student (19:123),
6. In 1943, Read wrote in his Education Through
Art about a new theme and a new dimension in the American
philosophy of art education. He stated that the aim of
education is ", . . the creation of artists— of people
efficient in the various modes of expression" (27:1, 11).
After World War II, a number of graduate studies
at various universities such as Columbia, Minnesota, New
York, Ohio State, Stanford, Wisconsin and others added
substantially to the research contributions of the profes
sion (64) .
7. Although it had been advocated since 1900 that
art instruction be related to the natural unfolding of the
child's graphic expression, Lowenfeld's textbook, Creative
and Mental Growth, in 1947 provided an operational
philosophy and method of instruction within the understand
ing and abilities of the typical classroom teacher. In
this book, he outlined a natural pattern of development in
art, from scribbling to schematic stages to the realistic
stage. Growth was largely facilitated by providing
appropriate motivation and materials at each stage of
development, plus a continuous, supportive guidance and
encouragement from the teacher. Lowenfeld stated that the
major contribution art education could make to the child
was to help him grow through art, creatively and
19
mentally (20).
According to Ziegfield in 1965, in an article
entitled "The Current Scene: Problems and Prospects for
Art Education Today," in the late 1940's and early 1950's
a visionary conception of an art consultant replacing the
art supervisor and itinerant art teacher was emphasized.
This person functioned as a resource person, public rela
tions director, teacher of demonstration lessons, organizer
of workshops and exhibitions, and aide in integrating art
into the on-going activities of the elementary curriculum.
He stated that in many communities, exciting results were
achieved. Too frequently, however, the tasks of the art
consultant seemed to outrun time, energy and abilities
(32:44).
9. Now the fields of psychology and anthropology
are being seen as directly related to the problems of art
education. Investigators are now studying intensively the
relationship between creativity in art and creativity in
science. The data provided by these fields are now consid
ered useful and necessary to the scientific understanding
of creativity (43:46).
Art educators are presently investigating similari
ties and differences in art education from other fields of
inquiry. This influence is evidenced in the wide accept
ance of McFee's behaviorally based book, Preparation for
Art, which was published in 1961. She stated that there is
20
a concern with the contributions of the behavioral sciences
to the work of preparing art specialists. Art education
programs and professors of art education are paying more
attention to research and using concepts from the behavioral
sciences for the behavior of the child in the production of
art. McFee discussed the process under conditions in which
the child (a) is prepared to perceive his visual world, (b)
is affected by his psychological environment, (c) organizes
the information he receives, and (d) creates or borrows
symbols to communicate his responses (21).
Langer, in her 1962 book, Philosophical Sketches.
revealed art as a form of symbolization which can formulate
and communicate aspects of human experience that must
otherwise remain unexpressed:
What . . . language in its literal use . . . does
for our awareness of things about us and our rela
tion to them, the arts do for our awareness of
subjective reality. . . . The arts objectify
subjective reality. . . . Art is the education of
feeling, and a society that neglects it gives
itself up to formless emotion. (15:92-94)
From 1870 to 1940, according to Belshe, much of the
preparation of art teachers was in the hands of a rela
tively small number of institutions that had developed
special curricula directly related to art education in
elementary and secondary schools. Course work, including
studio effort, art appreciation and instructional tech
nique, was usually taught by staff members with extensive
21
experience in the public schools. Such work was usually
oriented toward the anticipated needs and problems of
teaching art in public schools (64:28).
With the expansion of collegiate art instruction
since World War XI, Mitchell, in her article "Art Education
of Elementary School Teachers," stated that programs for
the preparation of art teachers have multiplied by combin
ing a general art major offered by the art department with
a sequence of work in professional education in the depart
ment or school of education. Courses in special methods in
the teaching of art in the elementary and secondary schools
were included in the curricula for potential teachers
(46:46).
The National Art Education Association has stated
that as state and private colleges and universities have
become the major centers for art teacher preparation, the
resources of these institutions in the area of general
education have become a larger portion of the total educa
tion of an art teacher. In the Position Statement, the
organization writes that the college "art educator" now
functions largely as a coordinator, attempting to synthe
size materials from diverse aspects--artist, historian,
educator and psychologist--into a unified and coherent
conception of the visual arts in public school education
(58:6).
22
Values of Art Education
At a convocation in his honor at Amherst College on
October 26, 1963, John Fitzgerald Kennedy stated:
I look forward to an America which will not be
afraid of grace and beauty . . . an America which
will reward achievement in the arts as we reward
achievement in business and statecraft. I look
forward to an America which will steadily raise
the standards of artistic accomplishment and which
will steadily enlarge cultural opportunities for
all of our citizens. And I look forward to an
America which commands respect throughout the world
not only for its strength but for its civilization
as well. (38:iii)
Johnson wrote in the National Society for the Study
of Education's Sixty-fourth Yearbook that a major purpose
for studying art in elementary school was the humane and
aesthetic values to be derived. Early childhood is the
time in which strong foundations should be built. The
development of children comes about through creating
symbolic forms that convey their ideas and feelings (11:45).
Whitehead, in his book Science and the Modern
World. in 1949 wrote that when you -understand all about the
rotation of the earth, you may still miss the radiance of
the sunset. "There is no substitute for the direct percep
tion of the concrete achievement of a thing in its actual
ity. . . . The habit of art is the habit of enjoying vivid
values" (31:199-200).
Art rests on a heritage of human achievements; it
stems from the processes of individuals to communicate
23
feelings and aspirations through organized form, according
to Barkan in his 1965 article, "Curriculum and the Teaching
of Art," for the Report of the Commission on Art Education
(1:76). Hausman in the same .report wrote:
Throughout our known history there are evidences of
men having made markings and forms to symbolize
their ideas and feelings. Through such symbols,
people have communicated ideas and feelings to them
selves and others. The presence of these symbols
now provides concrete forms that enable us to under
stand and realize the meanings given by men to
different aspects of their lives. These symbols
embody human creative spirit; conversely men have
been creative to the extent that they have been able
to invent such forms. (9:iv)
Many authors have written about the value of art in
the search for identity, the awareness of self. Linderman
wrote in Developing Artistic and Perceptual Awareness,
"Modern life with all of its complexities and all of its
abstractions seems to add a bar each day of our lives so
that we are in danger of becoming prisoners of life"
(18:64). He suggested that direct experience, coming face
to face with nature, with fellow men or with a simple lump
of clay requires that man or child use his own thoughts,
feelings and actions. Moustakas, in his book, The Alive
and Growing Teacher, stated that every experience in which
the individual expresses himself in a free spontaneous
manner contributes to the growth of the self (23:53).
According to Frankson, art education is able to
stress a process in life in which the quality of the world
is discovered through personal experiences and creativity.
24
He wrote: "Realize that creative behavior is most likely
to come to those who are not taught rules and techniques,
but to those who have been provided with the opportunity to
encounter their own world of reality" (51:35). Linderman
included creativity as a process of individual expression
and experience which enhances the self. It is an expres
sion of one's uniqueness. To be creative, then, is to be
oneself (18:23).
Gaitskill, in Children and Their Art. found that
teaching in art may by implication be defined as the tech
niques of helping children to say what they want to say in
the terms they want to say it. When a child is given the
opportunity to create in art, he must start from his own
experiences and feelings. Gaitskill believed that each
child may go through a period of personal struggle to
decide what and how to create. Consequently, it is the
task of the teacher to understand the resources and abili
ties of the child, and guide him in his search for a means
to communicate (7:43).
Lark-Horovitz in 1967, in her book Unders tanding
Children's Art for Better Teaching, wrote that the true
measure of success in the teaching of art is the extent to
which its values permeate life within and beyond the class
room (17:241). She stated that children can become
increasingly aware of the place of art in our own culture
and in cultures of other times and places. The aim of art
25
education is not the production of works of art but the
unity of the entire growing personality (17:4).
In bringing about an understanding of self and the
permeation of other aspects of life, art education also has
the capacity to engender a greater cultural understanding,
according to Packwood. She stated that as each individual
succeeds through continuous learning in and about art,
he extends his total cultural understanding. The child
develops a deepening awareness, understanding and apprecia
tion of the art in his environment and in other cultures of
the world (25:36).
Present Threats to Art Education
In The Aims of Education. Whitehead wrote, "It
would require no very great effort to use our schools to
produce a population with some love of music, some enjoy
ment of drama, and some joy in beauty of form and color"
(30:52).
Horn, in Art in American Life and Education, in
1941 expressed concern for the gross neglect of the devel
opment in art in the typical elementary school programs.
Although there were numerous isolated examples of excellent
art instruction during the 1920's and 1930's, "it is
perfectly clear from the evidence here reviewed that for
the majority of the children in the United States, the
opportunity for development in art approaches the zero
26
point" (10:491-493).
Barkan stated in "Transition in Art Education:
Changing Conceptions of Curriculum Content and Teaching"
that art was generally taught by the general classroom
teacher, who in many cases was inadequately prepared in art
and art education. Copying, busy work and the coloring in
of duplicated patterns frequently constituted the art
program. Art instruction was built on weak foundations and
effective art supervision was scarce so that no provision
was made for continuity of art learnings through the grades
(33:15).
In the article "Directions in Art Education," Dorn
stated that we have spoken highly in American education of
the arts, of general education and of the humane life; but
if the curricula of the schools are any indication of our
beliefs, there is a contradiction between what is said and
what is done. The high prestige of science supported by
our political and economic life diverts interest and energy
from art (35:48).
Eisner believed that the years ahead pose a great
challenge to the field of art education. In his article
"Challenge to Art Education," he stated that, faced with
the prospect of scientific advances and mounting social and
political problems, there will be the inevitable pressures
for increasing education in areas of science and technol
ogy, There will be accompanying pressures to curtail those
27
activities whose roots stem from humanistic rather than
technological concerns (37:27).
The status of art education was demonstrated
empirically in 1960 by Downey. Educators and lay citizens
were asked to rank in order of importance sixteen tasks
traditionally encompassed by the school. Aesthetic devel
opment as one of the tasks was placed twelfth in the list
of sixteen by educators and fourteenth by noneducators,
being outranked by physical development, patriotism, citi
zenship and so on (6). Welch wrote:
Art programs are not being introduced in proportion
to increases in school population and many long-
established district requirements for art education
are being decreased or eliminated because of the
increased state mandated subject programs, emphasis
on academic courses for students meeting college
entrance requirements, taxpayers1 demand to reduce
school expenses, and cutbacks in local school
budgets following tax overrides and school bond
election failures. (62:23)
Hausman stated that, given the prospect of con
tinued change and conflict, of increased technology and
mechanization, of closer human contacts and ties, and of
more pervasive imposition of mass media into our lives, it
is even more important that we seek to educate people in
the dimensions of human thought and action (9:141) . This
necessarily includes education in areas requiring qualita
tive and aesthetic judgments, according to Hallberg. At
its most general level, he stated that education in art
seeks to develop aesthetic maturity and sensitivity in
28
giving form and responding to our world (40:33).
Ziegfield in 1965 , in the Report of the Commission
on Art Education, stated that there is an increasing aware
ness of the importance of educating the emotions along with
the intellect, but little if anything is being done about
it. At the present time, he believes the pressures for
educational reform are largely on the intellectual side and
arguments that the emotions need training remain unheard.
Furthermore, the training of the intellect is more demon
strable than is the education of the emotions, and the
results lend themselves to both observation and evaluation
(39:7).
Monroe, in Art Education. Its Philosophy and
Psychology. , believed there is a need for art teachers to
point out that values exist in art and to demonstrate them.
The bases of art are primarily emotional, and the maturing
of the emotional life is one of the major outcomes of
successful art instruction (22:45).
Johnson wrote that perhaps art is the least under
stood, the most difficult, and, in many cases, the poorest
taught subject of any in the elementary curriculum. This
is most often due to the inadequate preparation of the
teacher, whose only exposure may have been in a methods
course in college or possibly in a teachers1 workshop
(11:56). She continued in her article that such superfi
cial preparation does not provide a growing awareness of
29
the part that art plays in the total realm of human culture
and of the vital role of aesthetics in everyday living.
The limited amount of time given to art and the poverty of
the program testify to its lowly status in numerous school
systems, according to Johnson.
The National Society for the Study of Education
found that instruction now remains typically in the hands
of the general classroom teacher with little or no back
ground in art and art education. Art education for the
vast majority of American children is typically the respon
sibility of the million and a quarter teachers who have
majored in elementary education and who might have taken
one or two courses in art or art education in a teacher
education curriculum, according to their study (63:63).
Thomas, in the article "New Directions in the
Training of Teachers," found that the degree of competence
that prospective elementary school teachers can achieve in
a course or two in art education at the college is minimal.
Since most do not study art in high school, the course or
two which they receive in art education at the college
level must overcome the effects of neglect of such educa
tion in their previous schooling (48:4).
The National Education Association found that as of
1963, less than 20 per cent of the school systems with
6,000 or more students enrolled in required professional
preparation in art education as a requirement for
30
certification. Yet, over 50 per cent of the same school
systems made definite allocations for art to be taught
(61:42).
Horn, in "Inequalities in Opportunity for Art
Development," wrote that when the burden of choice rests on
the individual teacher who has had inadequate training, the
art program often lacks valid or coherent sequence. The
success of the elementary art program is dependent upon the
attitude and interest of teachers toward it (10:25).
Barkan wrote that it is essential that teachers be required
to present credits in basic art as a condition of their
certification in his article, "Curriculum and the Teaching
of Art," written in 1965. Teachers whose preparation for
the teaching of art is weak often seem at a loss to know
how to lead children into new experiences in art, and how
to help them improve their expressive powers (1:65).
Miel's article, "Teaching as a Creative Process,"
stated that the training and qualifications of art teachers
should be a major consideration in evaluating art education
since it is through the teacher that art education is
mediated. She continued that to mediate is to be instru
mental in another person's experiencing of his world and in
his search for meaning (24:4).
The consequences of the Fischer Bill in California
did not necessarily spell progress for the statewide
elementary art program, according to Welch. She stated
31
that science and math have often displaced art experiences
in the elementary classrooms. Lack of adequate art train
ing for the elementary teacher has left art instruction to
chance or mediocrity. She has found that art supervisors
have not been retained, and colleges no longer require art
courses for elementary teacher preparation (49:23).
The Position Statement prepared by the California
Art Education Association in 1965 stated that art consult
ants should be employed on a full-time basis at the local
district level to guide the art program and to insure
appropriate content and sequence. Assistance from such
specialists must be available for every elementary school
(51:8).
There is a growing body of evidence which points to
the fact that the best programs in art education are gener
ally found in systems with good supervisory programs. The
function of supervision is leadership, and its aim is the
improvement of instruction (49:23). The teacher and the
student, in partnership, form the heart of any school
system, and the job of the supervisor is to increase the
efficiency of this vital partnership, according to Hurwitz
(41:73).
The National Art Education Association in 1968
published a pamphlet on the "Essentials of a Quality School
Art Program," in which they stated that direction and
32
supervision at local, county and state levels are essential
to the development of effective school art programs (58).
Hausman stated in his 1965 article, 1'Meaning and
Significance for Education in Art," that since the class
room teacher's background in art is not such as to enable
her to conduct a strong art program, every elementary
school requires the services of an art consultant (9:145).
Hurwitz stated that the specialized training of the
consultant should broaden and enrich the program. He
stated that working with classroom teachers, a resource
person performs many roles: assisting teachers in planning
each aspect of the art program; bringing resource and tech
nical information, ideas and art forms (41:73). Barkan
wrote that in larger school systems an art supervisor
performs the role of coordinating and giving overall lead
ership to art programs in its various schools (33:15).
Working with the art teachers, an art supervisor is in an
excellent position to give leadership and direction to the
program, according to Hausman. He continued:
It is the supervisor of art who seeks to establish
overall ties within the school system (teachers,
administrators, members of the board of education,
etc.) and outside the system (artists in the commu
nity, gallery and museum officials, and others in
the community and profession at large). (9:145)
In the tentative framework presently being written
for the state of California is a statement regarding the
importance of direction and supervision of art. It stated
33
that direction and supervision at the local and county
levels are fundamental to the development of effective art
programs (52:37). The California Art Education Association
has stated that although many individuals are involved in
the curriculum development process, qualified leadership in
art curriculum is essential. Direction and supervision
play an important and cooperative role in the structuring
and implementation of the art curriculum (51:8).
The National Art Education Association in their
position paper stated that
the effectiveness of the art program is directly
related to the quality of the environment within
which the program operates. . . . For optimum art
learning in the classroom, the school administra
tion should provide adequate and flexible facili
ties , quality equipment and materials, sufficient
time and properly trained and experienced teachers
and supervisors. (58:5)
Efland stated that the problem of upgrading inade
quate art education places upon the college art education
program the responsibility for achieving in twenty of forty
weeks what has not been achieved in twelve or fourteen
years of schooling. The problem is one of enormous diffi
culty and one that must be solved if the quality of the art
programs in the public schools is to be improved (36:16).
The California Art Education Association believed that the
effectiveness of an art program is dependent upon facili
ties and materials, administration and supervision, and
34
meaningful pre-service and in-service experiences for the
elementary school teacher (51:9).
Trends in Art Education
The California Art Education Association position
paper of 1965 (The Place of the Visual Arts in the Schools
of California) focussed attention on the current conditions
affecting art education in the schools of California.
During the same year, the report was presented to and
discussed with the California State Board of Education
(51).
The California Art Education Association Position
Statement's first recommendation for the improvement of art
instruction stated:
Uppermost is the need for an immediate commitment at
state, county and local levels to establish a
definitive, sequential and developmental program in
art from the elementary grades through high school.
(51:8)
In 1967, the California State Board of Education
appointed a Statewide Fine Arts and Humanities Framework
Committee consisting of twenty-one professional representa
tives from the fields of art, music, drama and humanities
education. The committee was charged with the development
of a framework in each of the subject areas, with recommen
dations dealing with support materials and teacher
education. A subcommittee consisting of five representa-
tives from the various areas of art education was charged
35
with the specific responsibility of suggesting a framework
for art education. Although the paper is still being
tentatively drafted, it does include a basic philosophy
regarding art education in California similar to that
expressed by the National Art Education Association and
California Art Education Association in their position
statements of 1968 and 1965, respectively (52).
The George Miller, Jr. Education Act of 1968
(Senate Bill No. 1) was the first major step by the legis
lature in recent years to remove specific state mandates
relating to content, aims, objectives, scheduling, and
administration of elementary and high school curricula.
Under Senate Bill No. 1 the course of study for grades one
through six shall include instruction, beginning in grade
one and continuing through grade six, the fine arts to
develop aesthetic appreciation and the skills of creative
expression (57).
The provisions of Senate Bill No. 1 were designated
to allow enough flexibility to meet the variation in needs
and abilities of individual pupils, to allow for ungraded
or nongraded instruction, and to allow for technological
change and innovation.
Specifically, the present law (Sec. 7604) states
that art be required at the grade or grades "prescribed by
the governing board," whereas Senate Bill No. 1 prescribes
"fine arts to be required beginning in grade one and
36
continuing through grade six" (Sec. 8551).
The National Art Education Association has given
direction to California art educators by the publication
of their position statement.. It states that the purpose of
the elementary art program has four aspects:
. . . seeing and feeling visual relationships,
the making of art, the study of works of art and
the critical evaluation of art. At the elementary
level the major emphasis should be on making works
of art with a variety of materials and processes.
At the same time, the learning situation should
include opportunities for the child, within the
limits of his intellectual, social and aesthetic
maturity to gain knowledge about art objects in
his culture, and develop the ability to judge art
products critically. (39:5)
Effective learning in art depends directly upon
the competency and enthusiasm of the art teacher.
He must be thoroughly familiar with the nature of
the visual arts, the elements and principles of
visual organization, visual art materials and
processes and the functional role of the visual
arts in the cultures of the past and present and
must understand the unique contribution which the
visual arts can make to the education of each
child. (39:9)
The National Art Education Association's Position
Statement (58) and the California Art Education Associa
tion's Position Statement (51) indicated that there is a
strong interest and trend at both the national and state
level for a planned program in art which should be provided
at all educational levels from kindergarten through high
school, as well as at the teacher training level, to
emphasize different degrees of intensity and complexity in
art so as to result in a broadened tinderstanding of the
37
perceiving, appreciating, performing and criticizing of
art.
Chapter Summary
In the first section of this chapter, the histor
ical development of art education was traced from the early
beginnings in 1870 to the present. Literature pertinent to
the value of art education was then summarized, with the
latter sections dealing with the present threats to art
education and some of the encouraging trends of the
present.
The organization and administration of the art
education programs at the state colleges have been influ
enced by many factors, culturally and academically. All
state colleges have similar functions, but such factors as
size, finance, community, philosophy, and faculty have
created an individual college atmosphere and a diversified
system of art education throughout the state.
CHAPTER III
PROCEDURES
Securing an Endorsement
Identical letters were sent to Stanley Cohen,
President of the California Art Education Association, and
to Audrey Welch, President-elect of the organization,
requesting the endorsement of the group and soliciting
suggestions that would make the study more valuable (see
Appendix A) . The assistance and endorsement of the group
were extremely helpful in the study.
Letters were also sent to the individual art
department chairmen of all California state colleges,
asking their endorsement and cooperation by submitting the
names of faculty involved in elementary art education.
Postcards were included in the letters for simple notifi
cation by the department chairmen.
Survey of Related Literature
An extensive review of the literature related to
art education was conducted. The areas considered were
(1) the historical development of art education since 1870,
38
39
(2) the values of art education, (3) present threats to art
education culturally, legislatively and organizationally,
and (4) trends in art education. The majority of the
literature dealt with the values of art education and
little of the information actually pertained to the
improvement of education at the teacher training level or
the need for increased art emphasis in the public schools.
Books and periodicals provided an overall structure
on which to work. With art education moving through devel
opmental periods as indicated in Chapter II, periodicals
proved especially helpful with timely information. Unpub
lished materials proved most helpful in background informa
tion, although little was available on the California State
Colleges or art education. Research documents were
obtained through the inner library loan service of the
university. Information was gained through the Educational
Resources Information Center (ERIC) at San Fernando Valley
State College.
Determining Criteria for the Study
The National Art Education Association (NAEA) has
provided some excellent pamphlets in the past several years
indicating the trends and goals for art education nation
wide. The California Art Education Association (CAEA) also
has published much informative material that was pertinent
to the study. Some of the materials provided by the
40
organization were direct outgrowths of meetings of involved
art educators, administrators and supervisors.
The tentative Framework which is being presently
developed was instrumental in setting criteria for an
effective art program both at the elementary level and the
teacher training institutions.
College catalogs were helpful in determining the
basic structure of present course offerings at the state
colleges. Catalogs were received from the following
colleges:
California State College, Dominguez Hills
California State College at Fullerton
California State College at Hayward
California State College in Kern County
California State College at Long Beach
California State College at Los Angeles
California State College at San Bernardino
California State Polytechnic College, Kellogg-
Voorhis, Pomona
California State Polytechnic College, San Luis
Obispo
Chico State College
Fresno State College
Humboldt State College
Sacramento State College
San Diego State College
41
San Fernando Valley State College
San Francisco State College
San Jose State College
Sonoma State College; Rohnert Park
Stanislaus State College, Turlock.
Developing the Questionnaire
A questionnaire was developed after a review of the
literature, especially the college catalogs, NAEA publica
tions and CAEA notes.
A tentative proposal was presented to the following
committee for their advice and criticism: Dr. Leslie
Wilbur, Associate Professor of Education; Dr. James Finn,
Professor of Education; and Dr. Myron Olson, Professor of
Education. An expanded questionnaire was developed for art
educators, and a similarly designed one for art supervisors
was developed after obtaining the Framework for Art Educa
tion. a working draft. Those involved in the writing of
this document for the State Board of Education included
Leven C. Leatherbury (Chairman), Specialist in Art Educa
tion, San Diego Unified School District, San Diego; Stanley
H. Cohen, Director of Art, Oakland Unified School District,
Oakland; Elliot W. Eisner, Associate Professor of Education
and Art, Stanford University; Mrs. Phoebe J. Harrison,
Teacher, Beethoven Elementary School, Los Angeles; and
42
Mrs. Jeanne P. Rinaldi, Art Consultant, San Ramon Valley
Unified School District, Danville.
The expanded questionnaires were then submitted to
Mrs. Audrey Welch, Art Supervisor, Glendale City Schools;
Dr. Josephine Schultz, Professor of Art, Long Beach State
College; and Mr. Don Sudlow, Professor of Art, San Fernando
Valley State College. These people, who are very committed
and dedicated to art education, had some invaluable
suggestions which were later incorporated into the final
questionnaires. Many of the questions on the set of
questionnaires were related to allow a comparison of
responses concerning the emphasis and nature of art
education in elementary schools and teacher training
institutions.
Distribution and Return of Questionnaires
The questionnaires were then distributed (copies of
questionnaires are included in Appendix B). The art
educators selected for this study were those actively
involved at the California State College level and who
specifically taught art education courses for elementary
school teachers.
The art supervisors selected were from a list
obtained through the art organization entitled "Supervi
sors, Consultants and Curriculum Specialists--Art Education,
California." All those people specializing in elementary
43
art supervision were selected.
The following school districts were involved in the
study: Alhambra, Bakersfield, Berkeley, Burlingame, Butte
County, Campbell Union, Compton, Contra Costa, Franklin-
McKinley, Fullerton, Glendale, Hayward, Hudson, Huntington
Beach, Little Lake, Los Altos, Los Angeles City (North,
South, Valley West, West); Los Angeles County, Oakland,
Oceanside Union, Redwood City, San Diego, San Rafael, South
Whittier, Tulare County, Walnut Creek, Yolo County.
Return and Tabulation of Questionnaires
A total of thirty-eight questionnaires were sent
out to the State College art educators, of which all were
returned. Of the thirty sent out to art supervisors,
twenty-seven were returned. Two were returned by the post
office, three indicated they no longer had an art super
visor due to budget cuts and twenty-two were completed in a
manner that could be tabulated. Results of the data
obtained from these questionnaires are tabulated and
analyzed in the remaining chapters. The information
derived was compared with the data secured from the cata
logs of the state colleges. This additional information
assisted in clarification and interpretation of that
information gathered on the questionnaires.
44
Chapter Summary
The following procedures were used to accomplish
the study: (1) the proposal was formulated, including the
title of the study; (2) the proposal was revised in confer
ence with the doctoral committee; (3) endorsement was
secured for the study; (4) the questionnaires were expanded
and revised according to three trial interviews and the
review of the Framework, written by five specialists in the
field; (5) a compilation was made; and (6) computations
were used to test the hypotheses. Findings were estab
lished from this information which produced conclusions
and recommendations as reported in the final chapter.
CHAPTER IV
PRESENTATION AND ANALYSIS
OF THE FINDINGS
The purpose of this study was to investigate the
status of the elementary art education programs of the
California State College system and to analyze the findings
in relation to the evaluation of elementary art supervisors
who observe and evaluate elementary teachers in the class
room. The necessary data for this study were secured
through two questionnaires, developed and presented to the
elementary art educators of the eighteen state colleges and
elementary art supervisors indicated on a list provided by
the California Art Education Association.
Although thirty-eight art educator questionnaires
were completed and twenty-two art supervisors question
naires were usable, some of the questions were not answered3
and in other cases the respondents gave multiple answers so
that on certain questions, the total of the items does not
always equal the number of respondents.
In order to derive specific conclusions and recom
mendations, it was necessary to structure a suitable format
45
46
which would assist in tabulation and analysis. The follow
ing tables report and tabulate the results of the question
naires submitted to state college art educators and
elementary art supervisors.
The information gained through the returned ques
tionnaires acts as the basis for the data indicated in the
remainder of this chapter. The data are reported in a fbrm
which follows the format of the questionnaires and the
questions to be answered to test the basic hypotheses.
Size of the Colleges
Table 1 indicates the total enrollment of the
eighteen state colleges. Four colleges indicated they had
a total enrollment between 1,000 and 4,999, while six
indicated a total enrollment between 5,000 and 9,999. In
the 10,000 to 14,999 category, three colleges were indi
cated, while six colleges indicated a total enrollment of
15,000 or more.
Table 2 relates to the fourth hypothesis that there
are significant differences in art education curricula.
Examination of this table demonstrates the wide variety of
courses offered at the state colleges. Several colleges
indicated no art education offerings in their catalogs
while Los Angeles State College listed the highest number
of courses offered, which totals seven. Long Beach State
47
TABLE 1 -
TOTAL ENROLLMENT OF THE CALIFORNIA STATE COLLEGES
College
1,000
to
4,999
5,000
to
9,999
10,000
to
14,999
15,000
and
over
Cal State, Dominguez X
Cal State, Fullerton X
Cal State, Hayward X
Cal State, Long Beach X
Cal State, Los Angeles X
Cal State, San Bernardino X
Cal Poly, Pomona X
Cal Poly, San Luis Obispo X
Chico State College X
Fresno State College X
Humboldt State College X
Sacramento State College X
San Diego State College X
San Fernando Valley State
College X
San Francisco State College X
San Jose State College X
Sonoma State College X
Stanislaus State College X
48
TABLE 2
COURSE OFFERINGS IN ART FOR ELEMENTARY SCHOOL TEACHERS
DERIVED FROM CATALOG LISTINGS
College Course Units
Cal State at *Education 350 Materials and 2
Dominguez Hills Techniques in the Humanities
and Fine Arts
Cal State at No art education offerings
Fullerton listed
Cal State at Art 3310 Art Experiences for 3
Hayward Young Children
Art 3320 Arts and Crafts for 3
Children
Cal State at **Art 300 Elementary Art Education 3
Long Beach Art 301 Art Appreciation for 2
Teachers
Art 303 Crafts for Teachers 2
Art 305 Clay Modeling for Teachers 2
Art 308 Painting for Teachers 2
Cal State at Art 102 Introduction to Clay 3
Los Angeles and Ceramic Processes
*Art 400 Art for the Elementary 3
School
Art 415 Foundations of Art 4
Education
Art 420 Crafts for the Elementary 3
School
Art 410 Art Experiences for the 3
Exceptional Child
Art 440 Industrial Arts for the 3
Elementary School
Art 480 School Arts and 5
Construction Workshop
Cal State at No art education offerings
San Bernardino
^Courses required as verified by art educators.
**Courses recommended only.
49
TABLE 2 (continued)
COURSE OFFERINGS IN ART FOR ELEMENTARY SCHOOL TEACHERS
DERIVED FROM CATALOG LISTINGS
College Course Units
Cal State Poly No art education offerings.
Teacher Preparation candidates
are advised to see the Depart
ment of Social Sciences,
Cal State Poly **Art 421 Curriculum and Instruc 3
San Luis Obispo tional Procedures in Art
Chico State *Art 105 Elementary School Art 3
Art 150 Classroom Art Environment 2
Fresno State Art 225 Seminar in Art Education
(Graduate course)
3-9
Humboldt State **Art 12 Public School Art 3
Sacramento State *Art 301 Elementary School Art 2
San Diego State No art education offerings
San Fernando Art 366 Low Fire Ceramics 2
Valley State *Art 380 Art for the Elementary
School
3
Art 385 Crafts for the Elementary
School
2
San Francisco *Art 104 Basic Art Experiences 2
State for the Elementary School
Art 105 Art Experiences for the
Elementary School
3
San Jose State Art 136 AB Art in Elementary
Schools
(3-2)
Art 336 Art Education for the
Elementary Teacher
2
Sonoma State Art 200 Basic Arts and Crafts 2
*Art 400 Curriculum of the
Elementary School
2
Stanislaus State Art 100 Introduction to Art 4
50
College listed five separate art education courses for
elementary teachers.
Course titles vary at each college with the only
colleges having similar titles being Los Angeles and San
Fernando. The origin of San Fernando was as an extension
school of Los Angeles, which might account for this
similarity.
Table 2 also indicates which courses are required
for elementary education majors. In most cases, an
equivalent of Art for the Elementary School is required.
However, at three of the colleges, a basic art course is
only recommended and not required.
Total Art Education Faculty
In Table 3, the number of art faculty involved in
art education courses varies from none to five. At
Dominguez Hills, one-half of an education course is devoted
to the teaching of fine arts. At San Diego, elementary
education majors are advised which regular art courses
would be most valuable to them in teaching. One person is
in charge of coordinating the program and no art education
courses as such are offered.
Table 4 indicates that where the faculties are
large, there is usually a meeting once a month while in the
smaller areas of art education, meetings are more frequent.
51
TABLE 3
NUMBER OF ART FACULTY INVOLVED IN TEACHING ELEMENTARY
TEACHING CREDENTIAL CANDIDATES
College Number of Faculty
Dominguez
*
Fullerton 1
Hayward 1
Long Beach 4
Los Angeles 5
San Bernardino 0
Cal Poly, Pomona 2
San Luis Obispo 2
Chico 4
Fresno 1
Humboldt 1
Sacramento 2
San Diego
**1
San Fernando 5
San Francisco 3
San Jose 3
Sonoma 2
Stanislaus 1
^Course taught in education department.
**Coordinator and advisor.
TABLE 4
MEETINGS OF ART EDUCATION FACULTY
52
College 1 per month 1 per week Other
Dominguez
Fullerton
Hayward
Long Beach never
Los Angeles X
San Bernardino
Cal Poly, Pomona X
San Luis Obispo never
separately
Chico X
Fresno
Humboldt
Sacramento X
San Diego
San Fernando X
San Francisco X
San Jose X
Sonoma X
Stanislaus
53
Methods of Class Instruction
The data in Table 5 are consistent with hypothesis
four, that there are significant differences in the art
education curricula of the state colleges. As indicated by
the art educators on Table 5, the major emphasis in most
classes was children's artistic growth. Use of materials
and art appreciation and theory also appeared to be heavily
emphasized. Bulletin boards and displays as well as organ
ization were not so heavily emphasized.
Table 6 indicates that the major procedure used was
studio or laboratory work involving use of materials.
Lectures ranked second in importance, with observation of
actual children's classes ranking last. Although some
instructors indicated they distributed their procedures
evenly, others indicated they spent as much as 90 per cent
of their time in studio work.
With regard to textbooks, there was no general
agreement, with the exception being the use of Developing
Artistic and Perceptual Awareness by Earl Linderman and
Donald Herberholz, which was mentioned five times. All
other textbooks were mentioned no oftener than once each.
Dr. Herberholz is presently teaching art education at
Sacramento State College.
Table 7 shows that the most frequently mentioned
course that should also be required of elementary teaching
TABLE 5
EMPHASIS IN CLASS INSTRUCTION AS INDICATED BY
STATE COLLEGE ART EDUCATORS
Emphas is F r equenc y
Children's Artistic Growth 30
Appreciation and Theory 21
Materials 21
Philosophy 18
Skills 15
Organization 15
Bulletin Boards and Display 3
55
TABLE 6
PROCEDURES UTILIZED IN CLASS INSTRUCTION
(Based on Percentage of Time)
Procedure
Studio or Laboratory Work 930*
Lecture 645
Discussion 531
Observation 36
*Art educators were asked to specify what percentage of
time they utilized each procedure based on 100 per cent
class time. The percentages were added together to provide
the total listed under compilation of frequency. Some
instructors indicated they distributed their procedures
evenly; some stressed certain aspects heavily.
56
TABLE 7
RESPONSES OF ART EDUCATORS TO THE QUESTION, "WHAT OTHER
ART COURSES SHOULD BE REQUIRED OF NON-ART
ELEMENTARY TEACHERS?"
Course Number
responding
Art Appreciation 9
Introduction to Art 7
Art History 6
Art Appreciation for the Elementary Grades 3
Art for Teachers 2
Art Materials 2
Studio Courses 3
Crafts 1
Drawing 1
57
candidates was art appreciation or basic art history
courses.
Table 8 indicates that most comments to the ques
tion reflected an interest in appreciating art overall--
essentially the aesthetic experience, but also the joy of
creativity. Only one comment pertained directly to the
classroom situation.
Evaluative Procedures of Effectiveness
Table 9 demonstrates that in all colleges respond
ing except one, supervision of elementary teachers teaching
art was done by the education department. None of the art
departments carried on any type of evaluative follow-up on
their elementary teachers.
Early Teaching Experience
Art instructors indicated several situations in
which their students had an early opportunity to teach.
Table 10 gives evidence to the fact that the most frequent
opportunity to teach early was at a nearby school. Second
most frequently indicated was the informal situation where
the student would teach a friend, neighbor, or relative.
Six schools responded that there was no opportunity for
their students to teach before student teaching, while two
colleges indicated the cooperation of a laboratory school
in which the students could gain practical experience.
58
TABLE 8
SELECTED COMMENTS ON THE MAJOR CONCEPT
GAINED FROM ART COURSE
1.
To have a positive attitude toward creative art.
2. To enjoy art work. Enthusiasm.
3. To perceive is joyous.
4. Art involvement is a fearless endeavor.
5. Be involved.
6. The teacher should be imaginative in stimulation to
produce satisfying art experiences.
7. To understand art.
8. Art is life.
9. Art is a natural part of man's development. Everyone
can create.
10. Being visually and aesthetically literate enriches
life.
11. Allow for freedom of expression through guided
aesthetic and visual growth.
12. Art has a vital role in the elementary school
curriculum.
13. Able to participate in studio work and appreciate
great art.
59
TABLE 9
EVALUATIVE PROCEDURES OF ART TEACHING EFFECTIVENESS
SUPERVISION OF STUDENT TEACHING
IN ELEMENTARY SCHOOL ART:
EXPERIENCE
Education Department 13
Art Department 1
EVALUATIVE FOLLOW-UP ON COLLEGE
IN ELEMENTARY TEACHING:
STUDENTS
Yes 1*
None 9
Don't know 3
*By placement bureau of c:ollege.
60
TABLE 10
RESPONSES OF ART EDUCATORS TO THE QUESTION, 1 f DO YOUR
STUDENTS HAVE THE OPPORTUNITY TO TEACH ART
TO CHILDREN PRIOR TO STUDENT TEACHING?"
At a nearby school 12
Informally (friend, relative, neighbor) 9
In the community (park or recreation center) 6
No opportunity 6
At the college 3
Laboratory School 3
California Youth Authority 1
Time Devoted to Art While
Student Teaching
61
Table 11 indicates the responses to this question
were evenly distributed to the categories of once a week,
more than one hour a week, depends on master teacher, and
don*t know.
Identification of Elementary
Education Candidates
According to the data received and tabulated on
Table 12, most candidates are identified by the art depart
ment in their senior year, with the next greatest frequency
at the junior year.
Academic Backgrounds of
Art Educators
The information on Table 13 indicates that the
majority of the elementary art instructors had as their
highest degree the Master of Arts, with the Doctorate of
Education ranking second with a ratio of about two to one,
verifying hypothesis four that there are significant
differences in the facility backgrounds at each state
college. Most of the undergraduate degrees were granted
from a California State College, while the majority of
graduate degrees were granted through private California
colleges or universities. On Table 14 the two most
TABLE 11
RESPONSES OF ART EDUCATORS TO THE QUESTION, "HOW MUCH
STUDENT TEACHING TIME IS DEVOTED TO ART INSTRUCTION?"
One hour once a week 6
More than one hour a week 6
Depends on master teacher 6
Don't know 6
Once every two weeks 3
TABLE 12
RESPONSES OF ART EDUCATORS TO THE QUESTION, "WHEN ARE
ELEMENTARY EDUCATION CREDENTIAL CANDIDATES
IDENTIFIED BY THE ART DEPARTMENT?"
Senior 6
Junior 4
Not identified until enrolled in art education 2
Freshman 2
Graduate 1
Sophomore 0
64
TABLE 13
ACADEMIC BACKGROUND OF ELEMENTARY ART EDUCATORS
College in Which Institution from Which
Undergraduate Degree Graduate Degree
Was Granted Was Granted
California State College 18 Private California
College 13
Out-o£-State College 9
California State College 7
Private California
College 6 California University 5
California University 3 Out-of-State College 5
65
TABLE 14
DEGREE AND AREA OF CONCENTRATION OF ART EDUCATORS
Highest Professional
Degree Held
Major Academic Area
of Study
Master of Arts 18 Education 12
Doctor of Education 9 Art Education 12
Doctor of Philosophy 4 Fine Arts 6
Bachelor's Degree 3 General Art 6
Crafts 2
66
frequently named areas of academic study were education and
art education.
Practical Experience of Art Educators
Table 15 indicates that the majority of elementary
art faculty had taught in either elementary or secondary
school for a two-year period at least. Other positions
held previously with a degree of frequency were special art
teacher and consultant.
Fifteen faculty members indicated that they had
been with their present job at the college for ten to four
teen years. The five-to-nine-year classification was least
frequently indicated, with the one-to-four-year period and
fifteen-to-nineteen-year period having nine each. These
data also support hypothesis four, that there is a wide
divergence in the backgrounds of the faculty involved in
teaching art education at the state college level.
Community Responsibilities
Table 16 demonstrates that speaking at elementary
schools is the major extra-curricular responsibility of art
educators. The next most frequently indicated responsibil-
ities are teaching extension and in-service training
courses. Fourth in frequency was teaching children*s
classes, while refresher courses, planning elementary art
shows and speaking at clubs and service organizations were
67
TABLE 15
PRACTICAL EXPERIENCE OF ELEMENTARY ART EDUCATORS
Public School Experience Length of Time with
of Two or More Years Present College
Teacher, elementary school 12 1- 4 years 9
Teacher, secondary school 12 5- 9 years 3
Supervisor 3 10-14 years 15
Consultant 6 15-19 years 9
Special Art Teacher 6
Junior College Teacher 4
Administrator 2
68
TABLE 16
COMMUNITY RESPONSIBILITIES OF ART EDUCATORS
Lectures at elementary school meetings 16
In-service Training 8
Extension Courses 8
Teaching Children's Classes 6
Planning Elementary Art Shows 2
Speaking at Clubs, Service Organizations 2
69
indicated least often. Although there is a wide range of
community responsibilities for art educators, the data in
Table 16 indicate that there is a similarity in the major
responsibility of lecturing, which is contrary to a portion
of hypothesis four.
As indicated in Table 17, the responses to the
question, , f What more do you think art education in teacher
training institutions can do to bring about more effective
art teaching in elementary schools?" seemed to reflect a
consensus that the art educators themselves should be
better trained in art and child psychology.
Academic Background of Elementary
Art Supervisors
Table 18 shows that undergraduate education of
supervisors is evenly distributed between California State
Colleges, California Universities, and out-of-state
colleges and universities. However, more than half of the
supervisors had received their undergraduate training in
California.
Graduate degrees were granted to supervisors from
California colleges in five cases, and a similar number was
granted from out-of-state colleges or universities.
Table 19 demonstrates that eleven of the twenty-two
responding held Master's, degrees. Three had received their
Master of Fine Arts degree. Only one supervisor held a
70
TABLE 17
RESPONSES OF ART EDUCATORS TO THE QUESTION, 'WHAT MORE DO
YOU THINK ART EDUCATORS IN TEACHER TRAINING INSTITUTIONS
CAN DO TO BRING ABOUT MORE EFFECTIVE ART TEACHING
IN ELEMENTARY SCHOOLS?"
Know children.
Develop sequential, cumulative art curricula from K-12.
Art educators should be better trained.
Have stronger art departments.
Stress divergent rather than convergent thinking.
Stress quality in teachings and in work.
Create enthusiasm, confidence and the ability to
respond aesthetically.
Encourage institutions to require art in their programs.
Emphasize art more, theory and method less.
Take more adult art courses in studio and history.
Visit museums.
71
TABLE 18
ACADEMIC BACKGROUND OF ELEMENTARY ART SUPERVISORS
College in Which Institution from Which
Undergraduate Degree Graduate Degree
Was Granted Was Granted
California State College 7 California State College 2
California University 6 California University 5
Out-of-State University Out-of-State University
or College 6 or College 5
Private Colleges 1 Private Colleges 2
72
TABLE 19
HIGHEST DEGREE AND AREA OF CONCENTRATION
OF ART SUPERVISORS
Highest Professional
Degree Held
Major Academic Area
of Study
Master of Arts 11 Art Education 16
Bachelor*s Degree 7 Education 5
Master of Fine Arts 3 Fine Arts 7
73
doctorate. Seven supervisors had only a Bachelor's degree.
The major area of emphasis in college work was art
education.
Practical Experience of Elementary
Art Supervisors
Table 20 shows that the supervisors are evenly
distributed over a span of twenty-five years, with two
supervisors occupying their positions from twenty-one to
twenty-five years.
Eight supervisors worked in districts with ten to
twenty-five schools. Three respondents indicated they
supervised in a district with fifty to one hundred schools.
(See Table 21.)
Table 21 also reveals that eleven supervisors had
spent two or more years as elementary teachers, nine had
been special art teachers and three had their experience in
secondary schools.
Evaluation of Pre-Service Training
Table 22 indicates that supervisors generally
believe that art for the elementary school and crafts for
the elementary school should be required of all elementary
school teaching candidates. These data agree with the data
in Table 2 derived from the art educators. There was also
a consensus that children's art growth, art philosophy,
74
TABLE 20
PRACTICAL EXPERIENCE OF ELEMENTARY ART SUPERVISORS
Number of Years Num ber o f T e a c h e r s
with District Number ot leactiers
1-4 4
5-9 5
10-14 6
15-20 5
21-25 2
75
TABLE 21
BACKGROUND OF ELEMENTARY ART SUPERVISORS
Number of Schools
in District
Teaching Experience of
Two or More Years
Fewer than 10 4
10-25 8
26-50 4
50-100 3
Elementary Teachers 11
Secondary Teachers 3
Special Art Teacher 9
TABLE 22
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT ART
EDUCATION COURSES DO YOU BELIEVE SHOULD BE REQUIRED
OF ELEMENTARY SCHOOL MAJORS?"
Art for the Elementary School 18
Crafts for the Elementary School 16
Art Appreciation 4
Interdisciplinary Approach (anthro,
cultural, sensit) 3
Clay 2
Ideas, materials, media, general art 1
Drawing and painting 1
77
appreciation and theory should be emphasized (see Table
23). Table 5 relates to Table 23, also suggesting that art
educators and supervisors generally do not feel different
needs for elementary school teachers. Frequently mentioned
by the supervisors was the opinion that appropriate art
activities for specific grade levels should be included.
Art educators made no reference to this objective. Materi
als and skills rated fifth and sixth, respectively, as
important areas of emphasis.
Evaluation of Procedure
In response to the question, "What do you believe is;
the best procedure to bring about effective art teaching?"
Table 24 indicates that studio and laboratory experiences
and observation in actual classrooms were most highly
rated. In Table 6 it was found that art educators use
studio and laboratory work most frequently, but value least
observation techniques. Earlier supervised teaching and
use of a video tape recorder were written in by the
supervisors.
Other valuable art courses in assisting the class
room teacher in gaining competence in art were indicated on
Table 25. There was consensus between the art educators
(Table 7) and art supervisors that art appreciation ranked
most highly. However, there was little agreement on the
78
TABLE 23
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT DO YOU
CONSIDER THE MOST IMPORTANT AREAS OF EMPHASIS?"
Children's Art Growth 13
Philosophy 11
Appreciation and Theory 11
Appropriate Art Activities for Grade Level 10
Materials 8
Skills 7
Organization
4
Bulletin Boards
3
Sensitivity and Perception
2
Correlation 1
Involvement 1
TABLE 24
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT DO
YOU BELIEVE IS THE BEST PROCEDURE FOR BRINGING ABOUT
EFFECTIVE ART TEACHING?"
Studio or Laboratory 12
Observation 12
Discussion 6
Lecture 2
Early Supervised Teaching 1
Use of Video Tape Recorder 1
Conference Attendance 1
TABLE 25
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT OTHER
ELECTIVE COURSES DO YOU BELIEVE WOULD ASSIST THE
CLASSROOM TEACHER IN GAINING COMPETENCE
IN ART TEACHING?"
Art Appreciation 13
Classroom Art Environment 13
Crafts 7
Clay 7
Design 2
Perception 1
Fostering Creativity 1
81
other areas which are related to hypothesis five, that
there are significant differences in the objectives of the
art educators at the state colleges and the expressed needs
and concerns of various elementary school art supervisors.
Thirteen supervisors suggested the teaching of
informal groups as another valuable experience prior to
supervised teaching stressing practical application of
education (see Table 26). Six mentioned that teaching
individuals would assist in more effective art teaching.
This approach was not mentioned by the art educators in
Table 17. This further supports hypothesis five. The only
convergent thinking between the art educators and art
supervisors was "to know children."
School District Procedures
The major way to help upgrade the art program
(Table 27) in elementary schools was through demonstrations
of lessons by the art supervisor or an art specialist.
Workshops and courses at nearby colleges also assist in
enriching the school program. Active interchange with a
nearby teacher training school was not indicated at all.
On Table 28, fourteen supervisors reported their
districts had not conducted any surveys of teacher training
y;
or teaching effectiveness, while six had recently surveyed
their districts.
TABLE 26
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT OTHER
EXPERIENCES PRIOR TO TEACHING DO YOU BELIEVE WOULD
ASSIST IN EFFECTIVE ART TEACHING?"
Teach Informal Groups 13
Teach Individual Children 6
Teach in School 4
Know Children 2
Awareness of Audio Visual Resources 1
Monthly Newsletter 1
Live, Look Experience 1
Camp Teaching 1
83
TABLE 27
PROCEDURES IN SCHOOL DISTRICTS AS
BY ART SUPERVISORS
INDICATED
Question: l f What procedures do you have to help up-grade
the elementary school program?"
Deraonstrat ions 14
Workshops 12
Courses at nearby college 12
In-service training 10
Conferences--profes s ional 6
Art specialists 4
Traveling exhibits 3
Active interchange with nearby
teacher training school 0
84
TABLE 28
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT TYPE
OF FORMAL RELATIONSHIP EXISTS BETWEEN THE SCHOOL
DISTRICT AND A TEACHER TRAINING INSTITUTION?"
None 10
Student Teachers 6
Observers 1
85
Further support of hypothesis five was the response
of ten districts, that there was no formal relationship
between their district and a teacher training institution.
Student teachers were indicated as a vital link in six
districts and observers in the school were mentioned anew.
Table 29 shows that six school districts have
conducted surveys of teacher training and effectiveness,
whereas fourteen have indicated they had conducted no such
survey.
Teaching Effectiveness
The supervisors were asked to rate the factors
which were indicated by the Framework committee. The most
important aspect in teaching was indicated on Table 30 as
the ability to communicate effectively, followed by an
understanding of the psychology of children. Competence
in art ranked third. Well organized curriculum was named
fourth, with a teacher fs understanding of his own strengths
and weakness.es being last. Five supervisors wrote in the
importance of personality and enthusiasm.
Table 31 indicates the varied number of responses
from the art supervisors to the question, ’ *What do you
believe creates an ineffective art teacher?" The responses
could be categorized into problems of teacher personality,
art information and student discipline.
TABLE 29
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "HAVE ANY
SURVEYS OF TEACHER TRAINING OR TEACHING EFFECTIVENESS
IN ART BEEN DONE IN YOUR DISTRICT?"
Yes 6
No 14
87
TABLE 30
VIEWS OF ART SUPERVISORS CONCERNING EFFECTIVENESS
(Rated from 1 [most important] to 5)
Communicates effectively 30
Understands psychology of children 37
Competency in art 46
Well organized curriculum 51
Understands own strengths and weaknesses 60
Personality and enthusiasm 5 write-ins
88
TABLE 31
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT DO
YOU BELIEVE CREATES AN INEFFECTIVE ART TEACHER?"
1.
Relies on activity books.
2. Insists on neatness on end products.
3. One who cannot see and relate to beauty.
4. Doesn't allow for individual differences. All
doing the same thing at the same time.
5. Directive type.
6. Routine ridden. No experiments allowed.
7. Focus on art product mainly.
8. Uses adult standards of criticism.
9. No competency in art, not organized. Doesn't
understand children, or communicate effectively.
10. Doesn't understand self.
11. Tension with students.
12. Lack of clarity in program.
13. Lack of ability in art.
14. Lack of time.
15. Doesn't understand values in art.
16. Lost in skills.
17. Fails to accept development level of child.
18. Not aware of kids, life and ideas.
19. Person who doesn't like children or art.
20. Inability to grow.
89
TABLE 31 (continued)
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT DO
YOU BELIEVE CREATES AN INEFFECTIVE ART TEACHER?"
21. Lack of communication skills.
22. Lack of warmth.
23. Lack of competency.
24. Lack of confidence in self.
25. Fails to recognize creativity in children.
26. Encourages "pretty pictures."
27. Lack of desire to be good art teacher.
28. Doesn't understand each child.
29. Rigidity (insistence on realistic work).
30. Poor evaluation techniques.
31. Too specialized in one area of art.
32. Poor disciplinarian.
33. Does not give children a variety of experiences.
90
Table 32 lists the wide range of responses to the
question, "What more would you like the teacher training
institutions to do in art education?" The responses
clustered around course requirements, reality in the teach
ing situation, and personality development of students.
Table 32 relates to Table 17 concerning art educators, and
demonstrated the significant difference in the expressed
objectives of the art educators and the expressed needs and
concerns of the art supervisors, as indicated in hypothesis
five.
Chapter Summary
The results of this survey indicate a variety of
practical and academic preparation among art educators and
supervisors. Tables found in this study indicate long and
varied lists of methods, procedures, philosophy and atti
tudes employed by those involved in art education in
California.
Evidence is presented to support the contention
that there are many consistencies and inconsistencies in
the system of art education of elementary school teachers.
91
TABLE 32
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT MORE
WOULD YOU LIKE THE TEACHER TRAINING INSTITUTIONS
TO DO IN ART EDUCATION?"
1. Require courses in art for classroom teachers.
2. Teach classroom materials, ideas, skills management
instead of college material.
3. Instruct on the use of media for the classroom.
4. Have student teaching experiences in art.
5. Require art history with anthropology.
6. Teach a course in the aesthetic growth of children.
7. Break down the barrier between art education and
fine arts.
8. Deal with relevant issues in today's schools.
9. Anything would be more than we get now. Very inade
quate . Now offer two courses as electives for
teachers to take.
10. Approach my district with an attitude of, "How can we
help you or how can we best work together?"
11. More concepts and not so many projects.
12. Do a better job at what they do.
13. More adamant about activity sheets.
14. Don't emphasize bulletin boards.
15. Emphasize the importance of art in the curriculum,
16. Required more than one class in art.
17. Deal with more practical problems of elementary art,
availability of materials, scheduling.
18. Encourage use of art appreciation and history.
91a,
TABLE 32 (continued)
RESPONSES OF ART SUPERVISORS TO THE QUESTION, "WHAT MORE
WOULD YOU LIKE THE TEACHER TRAINING INSTITUTIONS
TO DO IN ART EDUCATION?"
19. Create the desire to be a good art teacher.
20. Understand each child.
21. Require more courses and experience.
22. Everyone should be exposed on the adult level to a
variety of art experiences in a studio-type situation.
23. Help teachers feel more secure in teaching art.
24. Help them overcome fear of art being difficult.
CHAPTER V
SUMMARY, CONCLUSIONS AND RECOMMENDATIONS
The purpose of this study was to examine the art
education programs offered by the California State College
system, during the academic year 1968-69.
The remainder of this chapter is organized to
provide a summary of the findings of this study, the
conclusions reached as a result of examination of the data
developed in the research, and the recommendations made
relative to the art education program of the California
Public Schools and teacher training institutions.
Summary of the Study
Statement of the Problem
Art education for elementary school teachers
encompasses many learnings including art concepts, prin
ciples and skills; children*s developmental levels in art;
the creative process and classroom organization. The
California Art Education Association has stated that
teacher competency must be recognized as the ultimate key
to the improvement of art education.
92
93
Purpose of the Study
The purpose of this study was to clarify the
present conditions in art education by (1) identifying
existing patterns of organization and administration of
art education programs in the California State Colleges;
(2) determining the extent of consistencies and inconsis
tencies in the system of elementary art education; (3)
identifying the most desirable means through which
effective art education programs may be organized and
articulated; (4) providing objective evidence to support
requests for more comprehensive credentialing requirements
and teacher training and district art education programs.
Review of the Literature
A review of the literature revealed that art
education has passed through periods of emphasis often
coinciding with the trends in society. Before 1870, art
education was considered an educational extravagance and
was taught by volunteer teachers. Art was traditionally
taught in the schools from 1870 to 1885, but by the turn
of the century there was a need for craftsmen in industry
and there was a strong manual arts movement. In the
1930's art was considered as a way of life with influence
of John Dewey. Since the 1940's there has been a more
varied approach to art, with the present emphasis corre
lating many subject areas with art such as anthropology,
94
sociology and science.
Although there are unique values inherent in art
education, the present emphasis and trends in society are
threatening the future of art education. Although society
has spoken highly of the arts and the value of humanity,
politically and economically science and industry enjoy
greater prestige. Through emphasis on science and tech
nology, art and the humanities are displaced in curriculum
and cultural status. Education of the emotions is consid
ered less valuable than education of the intellect.
California is presently focusing attention on the
current conditions affecting art education. In 1965, a
position statement by the California Art Education Associ
ation was written and presented to the State Board of
Education. Presently a subcommittee of the Statewide Fine
Arts and Humanities Framework Committee appointed by the
State Board of Education is developing a paper on art
education in California including a philosophical base and
recommendations dealing with sequential curriculum develop
ment , support materials and needs in teacher education.
Importance of the Study
Virtually no study has been conducted to clarify,
evaluate, or substantiate the complex situation in art
education in the California State Colleges and the elemen
tary school districts. This study has been conducted in
95
an effort to provide objective evidence regarding many of
the programs, procedures and needs in the education of
elementary school teachers. Clarification of the existing
situation hopefully might assist in substantiating recom
mendations for the most ideal organizational and creden-
tialing patterns.
The Procedure
In Chapter III, the procedures involved in the
study are indicated. The first step was the development of
a proposal which was refined in conference with the
doctoral committee. It was agreed that the main objective
of the study would be to (1) present information on the
status of art education for elementary education majors in
art education, (2) describe the conditions of art education
in elementary school districts in California, and (3)
project trends.
Endorsement for the study was secured from the
California Art Education Association. Names and addresses
of elementary art supervisors were also obtained. College
instructors involved in elementary art education were
ascertained.
After an extensive review of the literature, two
questionnaires were developed, revised, distributed, and
returned. Findings were organized into tables from which
conclusions could be drawn and recommendations could be
96
formulated.
The conclusions drawn in the study have been
derived from data secured through (1) review of catalogs,
(2) literature in the field of art education, (3) question
naires , and (4) interviews with selected art educators and
supervisors.
Questionnaire Findings
Chapter IV deals in depth with the information
collected from the questionnaires. The major purpose of
this study was to investigate and analyze the present
status of elementary art education in the California State
Colleges and to compare these findings with the viewpoints
expressed by elementary art supervisors who evaluate the
effectiveness of art teachers and art programs in the
elementary schools.
The findings and conclusions set forth in this
chapter are based on the assumptions that reliable data
can be derived from (1) the publications of the national
and state art associations, (2) the evaluation of art
supervisors of pre-service art training, and (3) a coherent
view of the total scope of the art education of elementary
school teachers as practiced in the California State
College System can be derived.
97
The Colleges
The California State Colleges represent the largest
system of public higher education in the Western Hemisphere,
but each college has its own geographic, curricular and
academic character. The findings indicated that the size
of the colleges in terms of total enrollment varied from
under 1,000 students to over 15,000. The courses in
elementary art education had varied titles, with some
colleges offering as many as seven courses in the depart
ment while others offered no courses, and still another
offered the course through the education department. The
number of faculty involved in teaching elementary art
education ranged from none to five, with some art education
areas meeting once a week, others meeting once a month, and
some never meeting as a separate group.
Art Education Courses
The major emphasis in most art education required
courses was on childrens artistic growth, although the
procedure most frequently used was actual working with
materials. Art appreciation and work with materials was
also highly emphasized in the courses. However, there was
little agreement on the textbooks used throughout the
system.
There were generally no evaluative follow-up proce
dures of elementary art education students conducted by the
98
art educators. Even the supervision of student teaching
was delegated to supervisors in the education department.
Although the art educators indicated they did not consult
with their students while student teaching, most indicated
a knowledge of how much time students spent teaching art
during supervised teaching. Teaching time varied from one
hour a week, to once every two weeks, more than one hour a
week, dependent upon the master teacher or grade level.
However, most students did have some opportunity to teach
art prior to student teaching, which the art educators
could evaluate.
Art Education Faculty
Most art educators had received their undergraduate
degrees from a California state college. The most
frequently held graduate degree was a Master*s, with the
Doctorate of Education placing second. Most of the
graduate degrees were granted from California private
colleges. Art education and education were the frequently
mentioned academic areas of study.
Twelve art educators indicated they had experienced
two or more years in teaching elementary school while
twelve educators also had two or more years teaching
secondary school. Fifteen art educators had been teaching
at their present college from ten to fourteen years.
99
The main community responsibility for art educators
was lecturing at elementary school meetings.
Selected comments of the art faculty indicated they
believed that they themselves should be more involved with
their subject matter. There was consensus that enthusiasm,
quality in work, and the aesthetic response were important
to effective art teaching. Most art educators felt that
art was a totally joyous and natural experience, and
believed that creating a positive attitude in students
would carry over into classroom teaching.
Elementary Art Supervisors
Seven of the twenty-two art supervisors had
received their undergraduate degrees at California State
Colleges. Eleven held Master's degrees, with the second
most frequently held degree being a Bachelor's. Only one
supervisor had her doctorate. The major academic area of
study for art supervisors was art education.
The supervisors had spent from one to twenty-five
years with their school districts and the distribution was
even. Eight supervisors had ten to twenty-five schools in
their district. Eleven supervisors had spent two or more
years teaching elementary school, while only three had
spent two or more years in secondary teaching.
The comments made regarding ineffective teaching
appeared to fall into three important categories: the
100
teacher, the subject, and the student. Most of the
comments appeared to be directly related to the personality
of the teacher. Rigidity might classify such statements as
use of activity books, "pretty" end products, realism
required, must be neat, directive and routine ridden.
Within the framework of the subject matter, there were
comments such as no competency, not organized, no clarity,
no skills, poor evaluative techniques. Within the classi
fication of students and rapport would be tension with
students, doesn't understand developmental levels of child,
can't communicate, and doesn't like children.
The responses to the question, "What more would you
like the teacher training institutions to do?" appeared to
be centralized around course requirements, more direct
application to the "real" situation of the classroom, and
building the personality and security of the teaching
candidates. There was some desire indicated for a more
cooperative spirit between the district and the teacher
training institution.
Evaluation of Pre-Service
Training by Supervisors
Eighteen supervisors believed that Art for the
Elementary School should be a requirement for elementary
education credential candidates. Crafts for the Elementary
School was indicated by sixteen supervisors. Thirteen
101
believed that the art growth of children should be empha
sized, while eleven believed there should be emphasis on
philosophy and art appreciation and theory. Ten evidenced
an interest in appropriate art activities for the various
grade levels.
Twelve supervisors believed the best procedure for
bringing about effective art teaching was observation of
children in art classes. Twelve also believed that studio
or laboratory experiences should be emphasized.
Other electives that would assist in gaining compe
tence indicated by the supervisors were art appreciation
and classroom art environment. Thirteen supervisors agreed
that pre-service teaching of informal groups would assist
in effective art teaching.
The only type of formal relationship between the
school district and a teacher training institution was
placement of student teachers or observers. Generally,
there was no supervisor-facuity meetings.
The teaching of art is generally upgraded by demon
strations , workshops and in-service training. Six of the
twenty districts had surveyed teacher pre-service training
and effectiveness. The most frequently indicated aspect of
effective art teaching was effective communication, with an
understanding of child psychology ranking second. Compe
tency in art placed third in importance.
Conclusions
102
It was found in the review of literature that the
stated objectives of the National Art Education Association
and the California Art Education Association are similar in
relationship, verifying the first hypothesis, which states
that there are significant relationships among the aims and
objectives of the National Art Education Association and
the California Art Education Association. This was derived
from a review of the position papers of each of the organi
zations. Tables 5 and 8 collated from the art educators
verify their beliefs in the same goals in art education.
In 1965, the California Art Education Association presented
their proposal to the State Board of Education recommending
an immediate commitment at the state, county and local
levels to develop a sequential program in art throughout
the public schools. In, 1967, the State Board of Education
appointed a Statewide Fine Arts and Humanities Framework
Committee, of which one sub-committee was charged with the
development of a framework for art in public schools. This
proposal is still in the working draft stage, but does give
encouragement to art educators that the arts will be
re-emphasized and curriculum imbalance will be reversed.
Further encouragement comes from the passage of Senate
Bill 1, which removed specific state mandates and allows
for flexibility in scheduling.
103
In reviewing the literature and from the data
derived from the art educators, hypothesis two, that there
are significant relationships between the California state
requirements for the art education of elementary teachers
and the art curricula of the state colleges, was verified.
Teacher training institutions base their teacher prepara
tion programs on the curriculum structure and instructional
sequence endorsed by the State Department of Education.
There is no bureau of arts and humanities within the State
Department of Education, nor state director of art or any
other state level art educational leader responsible to the
State Board of Education. The art education courses at the
state colleges as evidenced in the findings of Table 2
indicate that art education may be selected from several
alternatives, but it is not a definite requirement.
Somehow certain colleges have been able to retain art as a
requirement for the elementary school teacher trainees,
but several state colleges can only recommend it. Further,
there were inconsistencies in course offerings in art
education. Some colleges had a number of courses that
teachers could elect, while others had none. However,
although each state college that offered art education had
its own title for the art education courses that it
offered, art educators generally agreed that they taught
art for the elementary school.
104
Since there is no definite state requirement for
the art training of elementary teachers as derived from a
review of the literature, the state college system reflects
inconsistent patterns in the pre-service art education of
elementary teachers (Table 2), verifying hypothesis two.
In the review of the literature and according to
the findings, hypothesis three, that there are significant
relationships between the art education curricula of the
state colleges and the long-range goals of California art
education, was verified. The actual offerings of the state
colleges relate to the objectives set down by the state and
national organizations, in theory. There is opportunity to
stay informed through the many worthwhile publications.
However, there does appear to be a discrepancy in what is
thought to be taught and what the supervisors see and
evaluate in the end products of the system— the teachers of
children.
Effective curricula in terms of the long-range
goals of California art education is structurally apparent.
The committee developing the Framework was selected through
the California Art Education Association and was an attempt
to bring together five people in various areas of art
education to create a comprehensive report. However, it
appears that there should be a more effective dialog
between the components of the total system.
105
Hypothesis four, that there are significant differ
ences in the art education curricula, faculty backgrounds
and responsibilities of each state college, is verified by
Tables 5, 6, 8, 13, 14, 15, 16 and 17. It remains that the
college requirement in art for the elementary school is
inconsistent within the state college system. In fact,
sometimes the art requirement is fulfilled as a section of
another course taught in another department such as educa
tion, probably by instructors trained in educational theory
only. In some state colleges, art education is taught by
artists who have neither taught children nor taken educa
tion classes. Inexperience in classroom teaching and
educational theory makes it difficult to emphasize chil
dren^ artistic growth or the philosophical value of art to
the child, which were the two main areas that both art
educators and art supervisors specified. Inexperience
should also complicate the issue to expect Instructors with
no public school experience to teach appropriate art
activities for various grade levels which the art super
visors also felt was an important area of emphasis.
Further verifying hypothesis four, it was found
that the backgrounds and practical experiences of the
faculty involved in art education are varied, but there do
appear to be a number of faculty with advanced degrees, as
shown in Tables 13, 14 and 15. Supervisors tended to have
fewer advanced degrees, but more actual experience in
106
working as teachers in the public schools, as collated in
Tables 18, 19, 20 and 21.
Evaluative procedures seem to be lacking in art
education generally. Only six of the twenty districts had
evaluated the teaching effectiveness in art or the pre
service education of the elementary teachers. The art
educators indicated that in no way at all were they
involved in evaluation of the pre-service education in art.
In most courses, evaluation is the key to refinement and
improvement of an approach. Strangely, this does not seem
to be carried out by art educators, nor art supervisors,
nor does there seem to be a concern that art educators and
art supervisors meet together to discuss goals and
outcomes.
Relating to hypothesis five, which states that
there are significant differences in the objectives of the
art educators at the state colleges and the expressed needs
and concerns of various elementary school art supervisors,
there was general consensus among the art educators that
similar subject matter was covered, although individual
instructors emphasized certain aspects of curriculum more
than others. These data are collated in Table 5. Super
visors and art educators agreed that the studio approach
was valuable in teaching skills. However, supervisors
definitely felt that observations in actual classrooms
should be more heavily emphasized. Throughout the
107
responses, it was noted that supervisors favored the prac
tical approach--having pre-service education emphasize
actual teaching situations such as the teaching of informal
groups, which verified hypothesis five, that there is a
significant difference in the views of art educators and
art supervisors.
Art educators agreed that art appreciation should
be another required course for elementary school teachers.
The generally required art for the elementary school
appeared to be crowded with many other areas to be covered,
such as the child's artistic growth, philosophy and
materials. Supervisors also rated highly the addition of
art appreciation for teachers.
Art educators should agree on what they are educat
ing for; interaction, coordination and involvement should
exist between the state colleges and the public schools.
At present it does appear that there are significant
differences between the objectives of art educators at the
state colleges and the expressed needs and concerns of
various elementary school art supervisors, as derived from
the data on Tables 5, 8, 17, 23, 24 and 28.
108
Rec ommendations
1. Communications between the National Art Educa
tion Association, the California Art Education Association
and the state colleges should be continued and strength
ened. Theoretical information should be translated into
practical approaches and practices. General concepts
should be carefully broken down into specific practices.
2. The present trend toward state support of an
art philosophy is most encouraging, and should be supported
in whatever way possible by people interested in art.
3. The development of new and experimental
programs in art education can definitely be encouraged by
the State Department of Education.
4. An immediate need is apparent for an effective
dialogue among the state college art educators themselves.
The system is diversified, but there should be some philo
sophical base or goal upon which all educators of the
discipline could agree.
5. Having developed a common philosophy and common
educational goal, cooperatively planned higher education-
district meetings should be held, in which to evaluate art
curriculum and implement change. Unfortunately, time and
distance hamper such an endeavor, but possible carefully
planned professional conferences could assist coordinating
efforts of teachers, supervisors, art educators, and the
109
state legislature.
6. Art education curricula should be perceived and
treated as flexible and in a process of continual change,
in accordance with the needs of the elementary schools and
communities.
7. Diversified ways of demonstrating the value of
art to the public should be sought so that art programs
will be adequately funded. Curricula should be planned
more flexibly so that when there is a shortage of funds in
the school budgets, art would not be one of the first
subjects to be eliminated.
8. The data indicate that there is a great need
for elementary art education and art supervisors to
evaluate the pre-service training of their first-year
teachers. Presently there seems to be no widespread review
of training.
9. The art educator-art supervisor meetings could
also be valuable in utilizing the talents and resources of
those involved in planning new art programs and evaluating
existing ones.
10. Serious attention should be given to the new
communications media and the implications these hold for
raising the level of instruction in all aspects of art
education.
11. Another means of bringing about interaction,
coordination, and involvement of supervisors and college
110
teachers would be to have college teachers teach in-service
training classes in the districts. Reciprocally, art
supervisors could teach college extension or evening
courses.
12. Symposiums and all-day workshops might be
another way for districts and colleges to interact.
13. Traveling student exhibits should be prepared
for exchange between communities and school systems to
broaden the horizons of school children and adults on all
levels.
14. Television and other mass media should be used
extensively to make the public more aware of the values of
art and aesthetic experience.
15. Materials should be prepared at state or local
levels informing guidance counselors and parents of the
validity of art education as a sound vocational choice.
16. In pre-service training, opportunities should
be provided for early teaching through various social
agencies in the city.
17. Laboratory schools could provide orientation
for future student teachers and allow children from the
area to come to college for after-school or Saturday art
classes.
Ill
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120
APPENDIX A
COVER LETTERS
121
122
August 26, 1968
Dear Audrey:
At our June 8, 1968, Exploratory Conference at Long
Beach State College on Issues and Directions in Teacher
Education in Art, there was, from those attending, a sub
stantial expression of interest in compiling the art
education offerings for elementary education in the state
colleges. The participants also expressed a desire to
provide a medium of exchange between the state college
group of art educators.
I may be in a special position to be of assistance
in providing this information since I am currently enrolled
in the doctoral program at the University of Southern
California, and am planning my dissertation on the subject
of Art Education Programs of California State Colleges for
Elementary Teachers. This information should be relevant
to our meeting topics. Further questions and details are
included on the attached sheet.
If you have suggestions as to any other directions
the study might take, I would appreciate them very much.
I would also appreciate receiving an endorsement from our
organization in gathering this information. I believe that
through support of this study, the California Art Education
Association can gain recognition, interest and greater
membership among the state college art educators.
Thank you for your time and consideration.
Yours truly,
Donna G. Ruedy
123
1. What is the general philosophy of those involved in
art education training for elementary school?
2. What are the objectives of the individual state
college art education programs?
3. What are the requirements in art education training
for elementary teachers?
4. What other course offerings in art education can be
elected by elementary teachers?
5. What is the enrollment in art education courses ?
6. How many faculty are involved in art education?
7. What is the academic and practical background of the
art education faculty?
8. What are the community responsibilities of the art
education faculty?
9. What evaluative procedures are utilized in judging the
effectiveness of graduate elementary teachers?
10. Establishment of basic criteria for effective art
education of elementary teachers.
124
Dear Chairman:
As a part of my doctoral study at the University of
Southern California, I am currently conducting a survey on
the status of art education programs for elementary school
teachers in our state colleges. The California Art Educa
tion Association has felt a need for acquiring this type
of information and has endorsed my study.
I am presently employed as an Art Educator at San
Fernando Valley State College. I have surveyed the state
college catalogs concerning the art education for elemen
tary school teachers, and now I need further information
from you or from your art education coordinator. Could you
please advise me as to whom I should send subsequent
correspondence ?
Thank you for your time and cooperation.
Sincerely,
Donna G. Ruedy
125
CAEA
THE CALIFORNIA ART EDUCATION ASSOCIATION
December 7, 1968
Dear Elementary Art Educator:
As a part of my doctoral study at USC, I am
currently conducting a survey on the status of art educa
tion programs for elementary school teachers in our state
colleges. The California Art Education Association has
felt a need for acquiring this type of information and has
endorsed my study.
I am presently employed as an Art Educator at San
Fernando Valley State College. I have surveyed the State
College catalogs concerning the art education for elemen
tary school teachers, and now I need further information
from you.
Your immediate attention will be greatly
appreciated.
Thank you for your time and cooperation.
Sincerely,
Donna G. Ruedy
126
CAEA
THE CALIFORNIA ART EDUCATION ASSOCIATION
January 17, 1969
Dear Elementary Art Supervisor:
As a part of my doctoral study at USC, I am
currently conducting a survey on the status of art educa
tion programs for elementary school teachers in our state
colleges. The California Art Education Association has
felt a need for acquiring this type of information and has
endorsed my study.
I am presently employed as an Art Educator at San
Fernando Valley State College. I have surveyed the State
Colleges concerning the art education for elementary school
teachers, and now I need further information from you
concerning the effectiveness of the State College pre
service art education program.
Your immediate attention will be greatly
appreciated.
Thank you for your time and cooperation.
Sincerely,
Donna G. Ruedy
APPENDIX B
QUESTIONNAIRE FORMS
127
ART EDUCATOR QUESTIONNAIRE
Name:
2. College:_________________ Number of years at college
3. Title:
4. Approximate enrollment of college for fall, 1968.
4.1 Under 1,000 4.1
4.2 1,000-4,999 4.2
4.3 5,000-9,999 4.3
4.4 10,000-14,999 4.4
4.5 15,000-above 4.5
5. What college or university did you graduate from?
5.1 California State College— Branch 5.1
5.2 California University— Branch 5.2
5.3 Out-of-state--List college 5.3
5.4 Other— Name 5.4
6. What professional degrees do you now hold?
Indicate date.
6.1 Bachelor1s degree 6.1
6.2 Master’s degree 6.2
6.3 Master of Fine Arts 6.3
6.4 Ed.D. 6.4
6.5 Ph.D. 6.5
7. What number of units beyond your highest degree have
you completed?
7.1 0-20 7.1
7.2 21-40 7.2
7.3 41-60 7.3
7.4 61r80 7.4
7.5 81-100 7.5
7.6 100-or more 7.6
8. What was your major academic area of study?
8.1 Education
8.2 Art education
8.3 Fine arts
8.4 Crafts
8.5 Design
8.6 Art history
8.7 O t h e r _______
8.1
8.2"
8.3"
8.4"
8.5"
8.6"
8.7"
128
129
9. Practical experience--indicate number of years.
9.1 Teacher, elementary school— dates 9.1
9.2 Teacher, secondary school— dates " 9.2 '
9.3 Supervis or— dates 9.3
9.4 Consultant— dates 9.4
9.5 Special art teacher— dates 9.5
9.6 Other— list 9.6
10. To what professional art organizations do you belong?
10.1 NAEA 10.1
10.2 California Art Education Association 10.2
10.3 Pacific Arts Association 10.3
10.4 Other--list 10.4
11. Professional experience. Include most recent date.
11.1 Exhibiting artist 11.1
11.2 Books 11.2
11.3 Articles for magazines, journals 11.3
11.4 Other— list 11.4
12. What art education courses are required for elementary
teaching credential candidates at your college?
12.1 Art for the elementary school 12.1
12.2 Crafts for the elementary school 12.2
12.3 Single subject, art 12.3
12.4 Other--list 12.4
12.5 None 12.5___
13. How many faculty are involved in teaching
elementary teaching credential candidates? 13.1
14. How often do they meet together?
14.1 Once a week 14.1
14.2 Once a month 14.2 "
14.3 Twice a semester 14.3
14.4 Other — list 14.4"
15. What art education courses are you presently teaching?
No. of
sections Enroll.
15.1 Art for the elementary school 15.1
15.2 Crafts for the elementary 15.2
school
15.3 Art appreciation for teachers 15.3
15.4 Construction for the elemen- 15.4
tary school
15.5 Foundations of art education 15 .5
15.6 Introduction to ceramics 15.6
15.7 Other— list 15.7
130
16. Please list the required textbooks for your classes.
Class Textbook
Check all
17.1
17. 2___
17.3
17.4
17. 5___
17. 6___
17. 7___
17.8
18. What procedure is used in your classes? Indicate
percentage of time.
18.1 Lecture 18.1
18.2 Discussion 18.2
18.3 Studio or laboratory 18.3
18.4 Observation of elementary school classes 18.4'
18.5 Other--list 18.5'
19. What related art education electives are offered
to prospective elementary teachers who are
non-art majors or minors?
19.1 Art appreciation for teachers 19.1
19.2 Crafts for teachers 19.2'
19.3 Clay modeling for teachers 19.3'
19.4 Classroom art environment 19.4'
19.5 Other— list 19.5
20. Do your students have the opportunity to teach
art to children prior to student teaching?
20.1 At the college
20.2 At a nearby school
20.3 In the community (park or recreation
center)
20.4 Informally (friend, relative, neighbor)
20.5 No opportunity
20.6 Other— list_____________________
21. Who supervises student teachers in elementary
school art?
21.1 Education department 21.1
21.2 Art education professors 21.2
21.3 Other____________________ 21.3'
20.1
20.2*
20.3'
20.4
20.5'
20.6'
17. What is the emphasis in your classes?
appropriate areas.
17.1 Materials
17.2 Skills
17.3 Philosophy
17.4 Appreciation and theory
17.5 Organization
17.6 Childrenfs artistic growth
17.7 Bulletin boards and displays
17.8 Other________________________
131
22. How much student teaching time is devoted to art
instruction?
22.1 Once a week--one hour 22.1_
22.2 Once every two weeks 22.2_
22.3 More than one hour a week 22.3_
22.4 Other_____________________ 22.4_
23. . Do you know of any evaluative follow-up on your
college students who have gone into elementary .
teaching ?
23.1 Yes 23.1
23.2 None 23.2^
23.3 Don't know 23.3_
24. If yes to answer 23, briefly explain.
25. When are elementary education credential candidates
identified?
25.1 Not identified until enrolled in art
education
25.1
25.2 Freshman
25.2
25.3 Sophomore 25.3"
25.4 Junior 25.4
25.5 Senior 25 .5‘
25.6 Graduate 25.6‘
25.7 Never 25. 1
26, What are your community responsibilities related
to your position at the college?
26.1 Extension courses 26.1_
26.2 Refresher courses 26.2_
26.3 In-service training 26.3_
26.4 Lectures at elementary school meetings 26.4_
26.5 Planning elementary art shows 26.5"
26.6 Teaching children's classes 26.6_
26.7 Others— list 26.7
27. Are there any art courses you believe should be
required for non-art elementary teachers to make
them better art teachers? Please list.
28. What more do you think art educators in teacher train
ing institutions can do to bring about more effective
art teaching in elementary schools?
29. What one idea would you like to leave with your
students about art?
30. Any additional comments would be appreciated.
If at all possible, please send course outlines of all art
education courses offered at your college.
1. Name-
ELELENTARY ART SUPERVISOR'S QUESTIONNAIRE
i
i
2. Title:
3. Name of district: Year in district
4. Approximate number of elementary schools in district.
4.1 Fewer than 10 4.1
4.2 10- 25 4.2
4.3 25- 50 4.3
4.4 50-100 4.4
4.5 100-200 4.5
4.6 More than 200 4.6
5. What college or university did you graduate from?
5.1 California State Coliege--Branch 5.1
5.2 California University— Branch 5.2
5.3 Out-of-state— List college 5.3
5.4 Other— Name 5.4
6. What professional degrees do you now hold?
6.1 Bachelor's degree 6.1
6.2 Master1s degree 6.2
6.3 Master of Fine Arts 6.3
6.4 Ed.D. 6.4
6.5 Ph.D. 6.5
7. What number of units beyond your highest degree
have you completed?
7.1 0- 20 7.1
7.2 21- 40 7.2
7.3 41- 60 7.3
7.4 61- 80 7.4
7.5 81-100 7.4
7.6 100 or more 7.6
8. What was your major academic area of study?
8.1 Education 8.1
8.2 Art education 8.2
8.3 Fine arts 8.3
8.4 Crafts 8.4
8.5 Design 8.5
8.6 Art history 8.6
8.7 Other 8.7
132
133
9. Practical experience. Indicate number of years.
9.1 Teacher, elementary school— dates 9.1
9.2 Teacher, secondary school--dates 9.2
9.3 Snecial art teacher— dates 9.3
9.4 Other--list
9.4
10. Which professional art organizations do you belong to?
10.1 NAEA
10.1
10.2 California Art Education Association
10.2
10.3 Pacific Arts Association 10.3
10.4 Other--list
10.4___
11. Professional experience. Indicate most recent date.
11.1 Exhibiting artist 11.1
11.2 Books
11.2
11.3 Articles in magazines, iournals 11.3___
11.4 Other--list 11.4___
12. What are the educational objectives of your school
district s art program?
13. What art education cotarses do you believe should be
required of elementary school majors?
13.1 Art for the elementary school 13.1
13.2 Crafts for the elementary school
13.2
13.3 Single subiect. art. specify 13.3
13.4 Other--list 13.4
13.5 None 13.5
14. What do you consider to be the most important
areas of
emphasis in art education courses?
14.1 Materials 14.1
14.2 Skills
14.2
14.3 Philosophy 14.3___
14.4
Appreciation and theory 14.4
14.5 Organization 14.5___
14.6 Childrens artistic growth
14.6
14.7
Bulletin boards and display 14.7___
14.8 Appropriate art activities for grade
levels 14.8
14.9 Other— list 14.9___
15. What do you believe is the best procedure for
bringing about effective art teaching?
15.1 Lectures 15.1
15.2 Discussions
15.2
15.3 Studio or laboratory work
15.3
15.4 Observation of actual elementary art 15.4
classes
15.5 Other 15.5___
134
16. What other elective courses do you believe would
assist the classroom teacher in gaining competence in
art teaching?
16.1 Art appreciation for teachers 16.1__
16.2 Crafts for teachers 16.2__
16.3 Clay modeling for teachers 16.3__
16.4 Classroom art environment 16.4__
16.5 Other— list_____________________________ 16.5__
17. What other experiences prior to teaching do you
believe would assist in effective art teaching?
17.1 Teach individual children 17.1__
17.2 Teach informal groups 17.2__
17.3 Teach in school 17.3__
17.4 Other--list_____________________________ 17.4
18. What procedures do you have to help up-grade the
elementary school art program?
18.1 Active interchange with nearby teacher training
school 18.1_
18.2 In-service training 18.2_
18.3 Refresher courses at nearby colleges 18.3_
18.4 Workshops 18.4_
18.5 Demonstrations 18.5_
18.6 Other___________________________________ 18.6__
19. If there is a formal relationship between your school
district and a teacher training institution, please
indicate the type of relationship.
20. What do you believe makes an effective art teacher?
Please rate.
20.1 Competency in art 20.1_
20.2 Well organized curriculum 20.2_
20.3 Understands psychology of children 20.3_
20.4 Communicates effectively 20.4_
20.5 Understands own strengths and weaknesses 20.5___
20.6 Other--list______________________________ 20.6_
21. What do you believe creates an ineffective art
teacher ?
22. What more would you like the teacher training institu
tions to do in art education?
23. Have any surveys of teacher training or teaching
effectiveness in art been done in your district?
Yes No If so, when?____________________
24. Any additional comments would be appreciated.

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Asset Metadata

Creator Ruedy, Donna Gail (author)

Core Title Art Education Programs Of The California State Colleges For Elementary Teachers

Degree Doctor of Education

Degree Program Education

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Education, general,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Wilbur, Leslie (committee chair), Miller, Herbert R. (committee member), Pullias, Earl Vivon (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-411719

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Document Type Dissertation

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Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

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