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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 any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA UIVLI 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI NICARAGUA’S CURRICULAR TRANSFORMATION FROM SOCIALISM TO DEMOCRACY DISSERTATION Presented in partial fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate Schoolof the Ohio State University by Maria Anzoategui B.A., M.A The Ohio State University 1999 Dissertation Committee: Pro lessor Arthur D. Efiand, Adviser Approved by Professor Patricia L. Stuhr Adviser/ Professor Vesta A. H. Daniel Art Education UMI Number: 9951627 mvxi* UMI Microform 9951627 Copyright 2000 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ABSTRACT This dissertation examines the curricular transformation as it was implemented in Nicaraguan schools by the Sandinista revolutionary government from 1979-1990. The changes in the curriculum were made on the Sandinistas’ belief that education would facilitate revolutionary social change. In other words, the Sandinistas used education to transform and create the “new man and new woman” who were going to build a new Nicaraguan society. In the same line, the use of the arts as a means to transmit revolutionary knowledge to the people is pointed out. For this, children’s art works illustrate the application of the arts as conveyors of knowledge, which in this case was revolutionary knowledge. Also, an overview of the arts from prehistoric to revolutionary times is outlined due to the importance the arts have had in Nicaraguan society over time, and specially during the Sandinista rule. Although, the dissertation focus is on elementary education and art education in particular, the study examines the insurrection of the people of Nicaragua in 1979, in order to overthrow Anastasio Somoza Debayle’s dictatorial government. The Somoza family had been in power over forty years and three members of this family served as presidents of Nicaragua from 1937 to 1979. In addition, the study discusses the Sandinista revolutionary government implemented after the fall of the Somoza regime because they relate to the changes made in education by the Sandinista Front for National U Liberation (FSLN). New changes in education after the Sandinista defeat in 1990 are explained as well. The new curriculum as it is implemented in schools today is based on democratic values. The Somoza and the Sandinista regimes, as well as the issues related to education and the arts are contemplated through the French historian Michel Foucault’s theory on power and knowledge, or in what Foucault called the power/knowledge relationship. .Additionally, the study provides a general background of the country through a description of the landscape, the people, the socio-economic, and political contexts since they relate to social issues and to the events as they happened in revolutionary Nicaragua. Ill DEDICATED TO Dr ARTHUR D. EFLAND [V ACKNOWLEDGMENTS I wish to thank my adviser Dr. Arthur Efiand for his intellectual support, direction and guidance with my research. 1 thank Dr. Patricia L. Stuhr for contributing information that was relevant to my topic. 1 would also like to thank Dr. Vesta A. H. Daniel for discussing aspects of this thesis and possible applications of this research to art education in Nicaragua. 1 am grateful to my children Cesar José Anzoategui, and Mariangeles de Flores for their support and help with typing, browsing for sources, and proof reading the manuscript. 1 also wish to thank my parents, Jose Santos Gallardo Ortega and Nelly Miranda .Vlatus, they were the ones who taught me the value of education. 1 would like to thank Joan Morse from Columbus, Ohio. Her ongoing interest in Nicaragua, was invaluable in providing resources for my work. VITA October 14, 1939 Bom San Marcos, Carazo, Nicaragua 1963 A A Degree. Los Angeles City College Los Angeles, California 1968 Bachelor of Arts. University of California. Los Angeles, California 1968-1979 Ceramic Professor Escuela Nacional de Bellas Artes Managua, Nicaragua 1969-1980 Professor of Design Universidad Politécnica de Nicaragua Managua, Nicaragua 1986-1988 Master of Arts The Ohio State University Columbus. Ohio 1987 Ceramic Research Museum of Anthropology Smithsonian Institution, Washington D.C 1992-1993 Director of Planificacion Educativa Ministerio de Educacion Managua, Nicaragua 1994-present Professor of Art Education University of Mobile San Marcos, Carazo, Nicaragua VI PUBLICATION La Ceramica de la Gran Nicoya en la Region del Facifico de Nicaragua. (1980). Ministerio de Cultura. Managua, Nicaragua. FIELDS OF STUDY Major Field: .A.rt Education VU TABLE OF CONTENTS Paae Abstract............................................................................................................................................... ii Dedication ............................................................................................................................................ iv Acknowledgments ...............................................................................................................................v V ita........................................................................................................................................................ vi List of Tables .....................................................................................................................................xii List of Figures .................................................................................................................................. xiii Chapters. 1 Introduction ................................................................................................................................1 Background to the Problem ................................................................................................. 7 The Landscape........................................................................................................................7 The Pacific Region ................................................................................................................8 The Central Region ..............................................................................................................10 The Atlantic Region .............................................................................................................11 The C ities...............................................................................................................................12 The People..............................................................................................................................13 The Socioeconomic Context .............................................................................................17 The Political Context ..........................................................................................................22 2 Overview of General and Art Education in Nicaragua .................................................. 23 Art in Prehistoric Nicaragua ..............................................................................................24 The Colonial Tradition ....................................................................................................... 25 The International Influence ...............................................................................................29 Structure of Nicaragua’s Educational System .................................................................31 Art Education Over Time inElementary Schools ........................................................... 34 VIII Methodology ....................................................................................................................... 41 Source Materials ..................................................................................................................43 Primary Sources ...................................................................................................................43 Secondary Sources .............................................................................................................