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A descriptive study of verbal statements made by Saudi Arabian students about Islamic and Western art objects

Alamoud, Yousef Ibrahim, Ph.D.

The Ohio State Univenity, 1091

UMI 300 N. Zeeb RA Ann Aibor, MI 48106

A DESCRIPTIVE STUDY OF VERBAL STATEMENTS MADE

BY SAUDI ARABIAN STUDENTS ABOUT ISLAMIC

AND WESTERN ART OBJECTS

DISSERTATION

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

Yousef I. Alamoud, B.A., M.A.

The Ohio State University 1991

Dissertation Committee: Approved by Nancy MacGregor Arthur Efland 1 Adviser Q Department of Art Education Ojo Areva, Sr. Copyrights by Yousef X. Alamoud 1991 [

To the memory of

my grandmother, my first art teacher.

ii ACKNOWLEDGMENTS

At the outset of these acknowledgements, I would like to thank God, who gave me the health, inspiration, and desire to achieve this humble manuscript. Sincere gratitude and appreciation are expressed to my academic advisor, Professor Nancy MacGregor, for her gracious endurance, encouragement, and insightful and critical contributions during all stages of the research's unfold ing development.

My thanks are also due here to Professor Arthur

Efland and Professor Ojo Arewa, Sr., not only for their instruction in curriculum, evaluation, history, and anthropology of art education, but also for sharing their incredible expertise and insights during coursework and as committee members.

Also, I wish to extend my extreme gratitude to

Professor Kenneth Marantz. His critical and insightful discussions are of high quality, and his love, tolerance, and support for Arab and international students is deeply treasured and appreciated.

Thanks is also extended to all30 student informants,

especially key informants, to the school principal and r

art teachers, and to all colleagues and friends at King Saud University and The Ohio State University. Their insights and encouragement are greatly appreciated.

I give my greatest appreciation to my mother for her patience and continuous sincere prayers. My wife deserves

a special thanks for her tolerance and moral support. Finally, my thanks to Mrs. Linda Caine for her

excellent job in typing this dissertation.

iv VITA

February 23, 1955 ...... Born - Unayzah, Saudi Arabia. 1976-1980 ««««*..«. B.A., Art Education, Kin? Saud University, Riyadh, Saudi Arabia.

1980 ...... Teacher Assistant at King Saud University, Department of Instructional Media and Technology, Riyadh, Saudi Arabia.

198 1 ...... Teacher Assistant at King Saud University, Department of Art Education, Riyadh, Saudi Arabia.

1 9 8 1 ...... Art Instructor at The Hobbies Centers, King Saud Univer sity, Riyadh, Saudi Arabia.

1983-1986 ...... M.A., Art Education, University of Wisconsin in Madison.

1986 Co-founder and first president of The Saudi Arabian Art Education Association, Columbus, Ohio.

FIELDS OF STUDY Major Field: Art Education

Studies in Curriculum, History, Evaluation, and Research Methodology by Professors Arthur Efland and Nancy MacGregor

Studies in Philosophy and Criticism by Professors Kenneth Marantz, E. Louis Lankford, and Terry Barrett

Studies in Anthropology and Communication by Professors Ojo Arewa, Sr., John Messenger, Barbara Boyer, and Ali Aljaberi

v TABLE OF CONTENTS

DEDICATION ...... ii

ACKNOWLEDGMENTS ...... ill

VITA ...... v

LIST OF T A B L E S ...... xi

LIST OF FIGURES...... xii

LIST OF P L A T E S ...... xiii

CHAPTER PAGE

I. INTRODUCTION ...... 1

Background of the Problem ...... 1 Statement of the Major Problem ...... 4 Other Related Problems...... 4 Limitations...... 5 Significance of the study ...... 5 Objective of the S t u d y ...... 6 The Data and Treatment of D a t a ...... 7 The Primary D a t a ...... 7 The Secondary D a t a ...... 7 Procedures ...... 8

II. THE STATUS OF ART EDUCATION IN SAUDI ARABIAN GENERAL EDUCATION ...... 14 Introduction ...... 14 The History of Art Education from 1963-1974 . . 16 The History of Art Education from 1975 to the P r e s e n t ...... 21 The Handling of Art Education by the General Directorate of School Activities . 24 Examples of Art Education Activities ...... 28 The Nature of Instruction and Teachers .... 30 The Nature of T e a c h e r s ...... 35 Art Educators and the Decision-Making Process . 37 vi CHAPTER PAGE

Anthropological Considerations in Art Education for the Past 25 Y e a r s ...... 39 The Suggested Curriculum Model for Art Educa tion in Saudi A r abia...... 49 Anthropological Justification of McFee's Model Perception-Delineation ...... 54

III. RESEARCH METHODOLOGY AND PROCEDURES ...... 57

Introduction ...... 57 Selection of Social Situation ...... 58 Participant Observation Strategy ...... 61 Procedures for Data C o l l e c t i o n ...... 64 Ethnographic Equipment ...... 69 Pen and Notebook...... 69 C a m e r a ...... 70 Tape R e c o r d e r ...... 70 Population Studied ...... 71 Ethnographic Focus ...... 76

IV. THE APPRECIATION OF ART OBJECTS IN MUSEUMS AND REPRODUCTIONS ...... 77

Introduction ...... 77 The Appreciation of Art Objects in Museums . . 77 Bringing High-Quality Western Style Art Forms to the C l a s s r o o m ...... 77 Bringing Students to Places Where Quality Works from Either Culture Might be F o u n d ...... 84 The Appreciation of Art Objects in Reproduc tions ...... 89 Historical Background ...... 89 Technical Background ...... 94 Aesthetic Issues in Reproduction ...... 99 The Social Function of Reproduction .... 103 Reproductions as Related to the Researcher's Ethnographic Project ...... 107

V. THE OBJECTS OF ART FOR DISCUSSION...... Ill

Introduction ...... Ill Review of Islamic Art Objects...... 112 The Q u r a n ...... 117 Quran Manuscript ...... 117 Incense Burner ...... 118 Prayer R u g ...... 118 Arabic Calligraphy ...... 119

vii [

CHAPTER PAGE

Contemporary Saudi and Arab Artists ...... 120 Modern Composition of Arabia Calligraphy . . 121 Popular Houses ...... 121 Islamic Architecture ...... 122 Floral Arabesque and Geometric Ornament . . 122 Arabic Calligraphy ...... 123 Review of Western Art objects...... 132 The F i f e r ...... 136 Boats at the A r a e n t e u i l ...... 137 Wheat Field and Cypress T r e e s ...... 137 The Old K i n g ...... 138 Woman With a H a t ...... 139 Broadway Boogie-Woogie ...... 140 The Perslstence_of Memory ...... 141 M u r a l ...... 142 Green Coca-Cola Bottles ...... 143

VI. THE TOPICS OF ART FOR D I S C U S S I O N ...... 152 Planning Activities for Students to Talk about Art O b j e c t s ...... 152 Suggested Activity P l a n ...... 155 Questions and Topics for Discussion ...... 159 Question Topics ...... 160 Philosophical Category ...... 161 Structural Category ...... 162 Formative Category ...... 163 Historical Category ...... 163 Relational Category ...... 164 Psychological Category ...... 165 Ethnographic Questioning Strategies .... 165

VII. DATA ANALYSES AND FINDINGS ...... 175

Introduction ...... 175 The Cultural Factors in Student Discussion About Art O b j e c t s ...... 176 Social Factors ...... 178 Taking a Cooperative Position ...... 178 R e p e t i t i o n ...... 179 Plural Representation ...... 180 Exaggeration and Overassertion ...... 183 Educational Factors ...... 184 Literary versus Colloquial Arabic .... 185 Quote-supported Responses ...... 186 Weakness of Critical Response ...... 187 Shortage of Art Knowledge...... 188

viii

r ► IF

CHAPTER PAGE Detmers' Extended Content Categories ...... 189 Philosophical Content ...... 190 Responses to Islamic Art Objects .... 190 Responses to Western Art Objects .... 193 Islamic Influence on Philosophical Responses to Islamic Art Objects . . . 199 Islamic Influence on Philosophical Responses to Western Art Objects . . . 202 Structural Content ...... 205 Responses to Islamic Art Objects .... 206 Responses toWestern Art Objects .... 208 Islamic Influence on Structural Responses to Islamic Art objects . 211 Islamic Influence on Structural Responses to Western Art Objects...... 213 Formative Content ...... 214 Responses to Islamic Art Objects .... 215 Responses to Western Art objects .... 216 Islamic Influence on Formative Responses to Islamic Art Objects...... 218 Islamic Influence on Formative Responses to Western Art Objects...... 219 Historical Content ...... 220 Responses to Islamic Art Objects .... 220 Responses to Western Art Objects .... 223 Islamic Influence on Historical Responses to Islamic Art Objects...... 225 Islamic Influence on Historical Responses to Western Art Objects...... 227 Relational Content ...... 228 Responses to Islamic Art Objects .... 228 Responses to Western Art Objects .... 229 Islamic Influence on Relational Responses to Islamic Art Objects...... 230 Islamic Influence on Relational Responses to Western Art Objects ...... 231 Psychological Content ...... 232 Responses to Islamic Art objects .... 232 Responses to Western Art Objects .... 233 Islamic Influence on Psychological Responses to Islamic Art Objects . . . 234 Islamic Influence on Psychological Responses to Western Art Objects .. . 235

VIII. CONCLUSIONS AND RECOMMENDATIONS ...... 238

Summary of the Research...... 238 Detmers* Content Categories ...... 239

ix CHAPTER PAGE

Cultural Factors Influencing Students' Discussions About A r t ...... 240 Islamic Art as Projected in Students' S t a t e m e n t s ...... 241 Western Art as Projected in Students' S t a t e m e n t s ...... 242 Arabic Language and Art Appreciation .... 243 Cultural Precaution and Art Appreciation . . 243 Recommendation for Further S t u d y ...... 244

APPENDICES

A. Developmental Research Sequence Writing Task . 246

B. A Taxonomy of Ethnographic Questions...... 250 C. A Sample of the Weekly Timetable for the Third Intermediate L e v e l...... 252 D. Letter of Introduction from The Ohio State University...... 254

E. Letter of Introduction from King Saud University...... 256 F. P l a t e s ...... 258 G. Description of Sample Data on Philosophical C o n t e n t ...... 278

H. Description of Sample Data on Structural C o n t e n t ...... 323

I. Description of Sample Data on Formative C o n t e n t ...... 337

J. Description of Sample Data on Historical C o n t e n t ...... 345

K. Description of Sample Data on Relational C o n t e n t ...... 359

L. Description of Sample Data on Psychological C o n t e n t ...... 363

LIST OF R E F E R E N C E S ...... 368

h r

LIST OF TABLES

TABLE PAGE

1. A typical weekly timetable for the third intermediate level ...... 253

xi LIST OF FIGURES

FIGURE PAGE

1. Perception-delinoation III: A double feed back Interaction system 52 2. Physical arrangement in a group art discussion in a classroom setting ...... 75 3. The art-culture system d i a g r a m ...... 130 4. Analysis guide to the content of student responses to art o b j e c t s ...... 191

xii LIST OF PLATES

PLATE PAGE I Floral arabesque ...... 259

II Geometric Ornament...... 260 III Islamic Calligraphy Styles by Aftab Ahmad . . 261

IV Letters by Suliman Alhelwah ...... 262 V Prayer R u g ...... 263

VI Positions of Islamic Physical Prayer ...... 264 VII Popular Houses by Suliman B a j a b a ...... 265

VIII Islamic Architecture by Abdul-Rahman Alsuliman 266

IX Saudi Arabian Brass Coffee Pot ...... 267

X Incense Burner ...... 268

XI The Fifer by Edouard M a n e t ...... 269

XII Boats at the Aroenteuil by Claude Monet . . . 270

XIII Wheat Field and Cypress Tree by Vincent Van G o g h ...... 271

XIV The Old King by Georges R o u a u l t ...... 272

XV Woman with a Hat by Pablo P i c a s s o ...... 273

XVI Broadwav_Booqie-Woogie by Piet Mondrian . . . 274 XVII Persistence of Memory by Salvador Dali .... 275

XVIII Mural by Jackson Pollock...... 276

XIX Green Coca-Cola Bottles by Andy Warhol .... 277

xiii r

CHAPTER 1

INTRODUCTION

Background of the Problem

This research attempted to focus on the study of knowledge and experience related to visual art as

reflected in oral statements given by students in the

final year of an intermediate school in Riyadh, Saudi Arabia. Student oral response to art objects was studied through field experience to facilitate the understanding of the context which leads and influences the discourse

process. Interest in the theme of student discussion

about art objects evolved from the sense that studying this discourse would be a practical means to describe art

education as it is taught in Saudi Arabian schools.

The description and analysis of the content and context of the 15-year-old students' art discussion may

bring attention to the type of quality of art education at

this stage of public schooling. Art education as a

regular curricular course is not taught after the inter mediate level. Art education was eliminated in 1974 from

the general curriculum of secondary schools. The

researcher was interested in studying students in the

r 2 final year of intermediate school to find out about what

they understand about art. These art outcomes are viewed

as satisfactory by most policymakers, as they feel no

additional experience in art education is necessary.

This research helps to identify how visual art is per

ceived, valued, and appreciated in the Saudi culture.

The term "culture" is used in this study to mean

the complex whole of knowledge, beliefs, and trends

consciously and unconsciously learned, shared, and

transmitted from one generation to another, and manifested

in the uniformity of words, acts, and artifacts of human groups. The term "Islamic culture" is used here as an

abstract description of knowledge, beliefs, and trends of

Islam toward uniformity in the words, acts, and artifacts

of Muslim groups. The terms "Saudi" or "Arabic" culture, wherever mentioned, are used interchangeably with Islamic culture.

Saudi Arabian art education is currently limited to studio art with little concern for cultural issues. Some scholars in the social sciences and other areas have emphasized the importance of social and cultural influ ences on the educational prgcess. Chalmers (1981), for

example, argues that the ethnologist provides a more

comprehensive role model for art education than other

models in the field, because "anthropology is primarily

oriented toward analyzing and understanding human behavior" (p. 6). He contends that the study of any type of art as it relates to people, such as the study of oral statements made by students as social participants who share one unique culture, "might be the key to understand ing the art that is meaningful in the lives of our students" (p. 9). In Preparation for Art. McFee (1961) devotes one chapter to the place of art in culture. Aesthetic appreciation or taste, according to McFee, develops from three sources: national culture, individual experience, and socioeconomic class. These factors are important in the study of culture. McFee recognizes that the cultural and social context influences the production and consump tion of the work of art.

Accordingly, the Saudi educational system has to base the study of art education on cultural foundations. In order to address the isolation of art from society, the

Saudi educational system should give more recognition to art education in the general curriculum of education. Once art education fulfills the needs of Saudi society, then Saudi policymakers would be able to change the negative image of value and importance of art education in

Saudi schools. The administration of art education is under the umbrella of the General Directorate of School

Activities in the Ministry of Education. Art education is categorized as an extracurricular activity, thus placing it as an extracurricular activity rather than an essential discipline. This placement reflects the position embraced

by the Ministry of Education toward art.

This research focused on how visual art, in the

context of art education, can be important in promoting

social and cultural values and in fulfilling the educational needs of Saudi society.

Statement of the Major Problem

This research identifies and analyzes cultural factors within the content of verbal statements given by Saudi Arabian students responding to Islamic and western artworks in the final year of an intermediate public school.