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INFORMATION to USERS This Manuscrit Has Been Reproduced INFORMATION TO USERS This manuscrit has been reproduced from the microfilm master. UMI films the text directly from the orignal or copy submitted. Thus, some thesis and dissertation copies are in Qpewiiter face, while others may be from any type of con^uter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margin»;, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note win indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, begirming at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for aity photographs or illustrations appearing in this copy for an additional diarge. Contact UMI directty to order. UMI A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800.'521-0600 EFFECTS OF CONTEXTUAL INFORMATION ON ELEMENTARY STUDENTS' ABILITY TO RECALL, INTERPRET AND GIVE MEANING TO JAMAICAN WORKS OF ART DISSERTATION Presented in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Hazel Loraine Bradshaw-Beaumont, Dip., M. Sc. ***** The Ohio State University 1995 Dissertation Committee Approved By Vesta Daniel Jacqueline Chanda Arthur Efland Advisor Department of Art Education UMI Number: 9544517 Copyright 1995 by Bradshaw-Beaumont, Hazel Loraine All rights reserved. UMI Microform 9544517 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Hazel Loraine Bradshaw Beaumont 1995 To the Development of Art Education in my Country JAMAICA and To my family, especially my darling son SADIKI 11 ACKNOWLEDGEMENTS This has been a very challenging time for me and I would like to thank several individuals who have supported me both physically and emotionally throughout the last three years. Firstly, I would like to thank God for giving me health and strength to endure the trials and pain that I have endured. My immediate family, husband Glen and son Sadiki, for allowing me to be away from them for the entire duration of my course. Although I saw you both at the end of each quarter, I often wondered when the time would come so that I would be home for good. To the rest of my family thanks for all your prayers and moral support. Mom, I know I was always on your mind, when the times got rough I remembered some of your favorite words, "take it to the Lord in prayer." I know you might be thinking like I do right now, it's a pity Daddy was unable to hang around to see this day. Special thanks to my brother Khalil, his wife Ivy, and my sisters Delrose and Mauva for always being there for me. Your kind words of support were always appreciated. "Good friends are better than pocket money." For all my many friends both in Jamaica and the United States, I would like to say how much I have appreciated all that you have done for me in order to cope with this process. To Cassandra Broadus, Jan Federenko, Penny Miller, and especially Sally Shumard and Kendra Hovey, who stood by me to the very end. Dr. Michael Parsons and colleagues in the AE 795 Seminar in Dissertation Research, thanks for your comments and suggestion. For the members of the Caribbean Students Association, especially Twilla-Mae Logan, Clive Scott, Kurt Shade 111 and Garth Gardner, thanks for your support. For all my fellow Jamaicans: Mrs Norma Darlington (Principal of Shortwood Teachers College), Miss Vera Watson (Vice Principal), your support and encouragement have been greatly appreciated, and to my colleagues in the art department, Anna Cobban and Verona Barnes, thanks for your understanding over the last six months. Special thanks to Mrs Ellis the principal of Hope Valley Experimental School for granting me permission to conduct the study at the school, the class teacher Mrs. Burton, and a tremendous amount of thanks to the grade six students who participated in the study. To Marcia and David Dunn for assisting with video recording, and peer debriefing along with Verona who also assisted me several days during the duration of the study. Thanks to my informants and members of staff at the Jamaica Information Service for editing the video tapes for my study as well as providing me with valuable information. However, this process could not be completed had it not been for both help and encouragement from several of my professors. To the members of my committee: Dr. Vesta Daniel, Dr. Jacqueline Chanda, and Dr. Arthur Efland. Thanks for your suggestions, patience and encouragement. Special thanks to Dr. Chanda for her tremendous support and guidance, you have been a tower of strength for me, and to Dr. Judith Smith Koroscik, thank you for all your suggestions, especially during my general examinations and the preparation for my study. Finally I would like to say thanks to my co-workers at Shortwood Teachers College, and other colleagues in the field of art education in Jamaica especially Dr. Nadine Scott for your ideas, and words of encouragement and for seeing the need for all my endeavors. IV VITA December 4,1956 Born - St Ann, Jamaica W. I. 1978 . Diploma in Art; Certificate in Art Education, The Edna Manley School for the Visual Arts (Formerly the Jamaica School of Art), Kingston, Jamaica 1981 M.S.Ed, Art Education/Therapy, and Certificate, Crisis Counselling, State University College of New York at Buffalo, Buffalo, New York 1981 . Art teacher, Wolmers' High School for Girls, Kingston, Jamaica 1991-Present. Lecturer and Head of Art Department, Shortwood Teachers College, Kingston Jamaica FIELDS OF STUDY Major Field: Art Education Psychology of Art in Education Dr. Judith Smith Koroscik Dr. Arthur Efland Multicultural Education Dr. Vesta Daniel Dr. Jacqueline Chanda Educational Research Methods Dr. Patty Lather Dr. John Kennedy Education for the Learning Disabled Dr. Marjorie Schille Dr. Ralph Gardner TABLE OF CONTENTS PAGE DEDICATION .11 ACKNOWLEDGEMENTS .iii VITA AND FIELDS OF STUDY .iv LIST OF TABLES . .xii LIST OF FIGURES . .xiii LIST OF PLATES . .XV CHAPTER I. INTRODUCTION . Background to the Problem 1 Statement of the Problem. 5 Research Questions 6 Definition of Terms 7 Limitations of the Study . 8 Significance of the Study . 8 Summary . 9 IL HISTORY OF JAMAICA 10 Overview 10 Cultural History 10 Jamaican Art and Culture. 13 Development of Jamaican Visual Arts . 13 Religion and Jamaican Art 19 Revivalist Movement 21 Revival 21 VI CHAPTER PAGE Pocomania . .. .23 The Relevance of Dance as a Cultural Form . .25 Jonkonnu . .28 Bruckings . .30 Kumina . .32 The Jamaican Education System. .54 The Transition of the Education System . .56 Art Education in Jamaican Schools . 57 The Infant and Basic Schools . .57 Primary Schools . .57 Secondary Schools . .58 Multicultural Practices in Art Education . , . .60 Multicultural Content in Art Education . .65 Multiculturalism and the Jamaican Education System . .67 Summary . .69 m. RESEARCH DESIGN AND METHODOLOGY. .70 Overview . .70 Contextual Information and Learning . 70 Formal and Informal Knowledge . 73 Learning Concepts . .74 Cognitive Development . 74 Processing of Information . 77 Problem Solving . .80 Recall. .87 Interpretation . .90 Research Design . .98 Participants and Location. .106 Procedures ..... .110 The Experimental Group . .112 Task 1: Cueing . .113 Task 2; Building Meaning . .113 Task 3; Building Deeper Meaning . .114 VII CHAPTER PAGE Task 4: Making Art . .117 Task 5: Interpretation of Art Making . .118 Task 6: Evaluation of Learning Experience . .118 Summary Experimental Group .119 The Traditional Group . .119 Task 1: Cueing lecture . .120 Task 2: Building Meaning . .121 Task: Building Deeper Meaning . .122 Task 4: Making Art . .123 Task 5; Interpretation of Art Making . .123 Task 6: Evaluation of Learning Experience . .124 Summary Traditional Group. .124 Ethical Considerations . .125 Reliability ..... .125 Procedures to Enhance Trustworthiness .128 Trustworthiness . .128 Peer Debriefing . .128 Transferability . .129 Dependability . .129 Confirmability . .130 Validity ..... .130 Summary of Overall Teaching Methods .132 IV. RESULT AND DISCUSSION . .154 Overview .... .154 Process of Analysis. .155 Cultural References .155 Art References .156 Relationships between Art and Culture .156 Scoring Procedures. .156 Phase One .... .160 Experimental Group .160 Task 1: Cueing Lecture .160 Task 2: Building Meaning .160 Vlll CHAPTER PAGE Deeper Meaning .165 Task 4: Making Art .176 Task 5: Interpretation of Art Making . .184 Task 6: Evaluation of Learning Experience .190 Summary Of Experimental Group .195 The Traditional Group . .195 Task 1: Cueing Lecture .195 Task 2; Building Meaning .196 Task 3: Building Deeper Meaning .202 Task 4: Making Art .213 Task 5: Interpretation of Art Making . .224 Task 6: Evaluation of Learning Experience .227 Summary Of Traditional Group .232 Summary of Results Phase One . .232 Phase Two ..... .233 Experimental Group .233 Traditional Group . .237 Summary of Results Phase Two . .241 Phase Three ..... .238 Significance Between Traditional and Experimental Groups. .241 General Summary of Results on Teaching Methods . .251 V. RECOMMENDATIONS AND CONCLUSION .255 Overview ..... .255 Cognition . .255 Aesthetics .258 Cultural History and Benefits .260 Models of Teaching and Teacher Training . .263 Conclusion ..... .269 IX CHAPTER PAGE APPENDIXES A.
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