Exploring Experiencing and Envisioning Integration in Us Arts Education Review

2020 Volume 21

Articles and Abstracts

Articles

Volume 21 Number 1: Linds, W., Sjollema, Southward., Victor, J., Eninew, 50., & Goulet, L. (2020). Widening the angle: Picture every bit alternative education for health in Ethnic youth.

Indigenous youth face numerous challenges in terms of their well-being. Colonization enforced state and cultural loss, fractured relationships, and restricted the use of the imagination and agentic chapters (Colonial policies, structures, and approaches in instruction have been detrimental to Indigenous youth (Nardozi, 2013). Many First Nations leaders, community members, and youth have expressed a demand for a wider range of activities that move beyond Western models of knowledge and learning (Goulet & Goulet, 2015). Schoolhouse curricula in Indigenous communities are incorporating culling pedagogical tools, such as the arts, that not only allow youth to explore and limited their realities and interests but that also offer them holistic ways of learning and knowing (Yuen et al., 2013). This article describes a participatory arts inquiry project which featured film production and was delivered in the context of a class 10 Communications Media grade. The research took place at a First Nations high school in a Neehithuw (Woodland Cree) community in northern Saskatchewan. This commodity highlights the content of the films produced, the benefits of the filmmaking experience, and the challenges faced by the instructor and students during the procedure.

Volume 21 Number two: Svendler Nielsen, C, Samuel, G.Thousand., Wilson, Fifty., & Vedel. Grand.A. (2020). 'Seeing' and 'existence seen': An embodied and culturally sensitive arts-integrated pedagogy creating enriched conditions for learning in multi-cultural schools.

This article explores the teaching developed for enriching conditions for learning amidst 10-11 year-old children in culturally diverse schools in Greatcoat Boondocks and Copenhagen in an artistic-educational projection led past an intercultural group of artist-educators, teachers and researchers from Kingdom of denmark and South Africa. The group created a workshop format in the cross-over between dance and visual arts focused on the theme of climate change, the elements of nature (water, air, world and fire) and their importance in the southern and the northern hemispheres. Based on a hermeneutic phenomenological analysis (van Manen, 1990) that connects the children'south experiences and the artist-educators' experiences of how learning became possible in dissimilar ways, it is argued that enriched weather condition for learning tin can be fostered through integrating art forms (here dance and visual arts) and by tools that establish an embodied and culturally sensitive didactics.

Volume 21 Number 3: Kenny, A. (2020). The 'back and along' of musician-instructor partnership in a New York City school.

Teaching artists are oft a central characteristic of arts-in-education work in North American schools. This article examines a teaching creative person's engagement in one New York City school, with three classroom teachers, equally part of the Combo Schools program. Through a qualitative case study approach, musician-teacher partnership inside 1 public school is problematized. Data was nerveless over seven months through in-form observations, classroom teacher and education artist interviews, and a teaching creative person cogitating log. Findings reveal how the classroom teachers and teaching artist journeyed together to evangelize music in their classrooms, projected musician/teacher identities, negotiated roles within the partnership, created reflective spaces and mutually informed each other'south practise. Thus, the complexity of, just as well the possibilities and pathways for, dialogic music-in-education partnerships are revealed.

Book 21 Number 4: Andersen, J., Watkins, M., Brown, R., & Quay, J. (2020). Narrative inquiry, pedagogical tact and the gallery educator.

This paper responds to the need for a deeper understanding of gallery educator do. Focusing on a meaning encounter in a major city public gallery, it describes how narrative inquiry offers new insights into how experienced gallery educators shape school teaching sessions based on prior knowledge and experience, and in-the-moment observations and judgements. Responding to artworks, artists, gallery spaces, and students' needs and interests, gallery educator practice is infused with 'pedagogical tact'. Narrative research makes this complex teaching visible and, in doing so, affords a valuable approach to professional learning.

Volume 21 Number 5: Bellugi, D. (2020). "Information technology's But Such a Foreign Tension": Discourses of Authenticity in the Creative Arts in Higher Education.

This paper explores the conflicts engendered during the creative person's formation due to repeated submission to assessment in formal artistic arts didactics. In a comparative qualitative report of two visuals arts practice undergraduate curricula, the underlying interpretative approaches to intentionality were uncovered to comprehend the bear on of the subconscious curriculum at those higher education institutions. Beyond both sites, nominal authenticity emerged consistently as the most valued criterion which creative person-students referenced in their self-assessments of the success and quality of their artworks, and of their identities as members of the professional community of practise. This criterion for cocky-assessment ran parallel to, and at times against, the persistent disregard of the artist-students' bodily intentionality as a valid referent within the summative cess practices of both the academic institutions studied. Inside this paper, constructions of inventiveness, authorship and the relationship of these to interpretation, set up the scene for exploring the traces, slippages and nuances between the discourses of authenticity which emerged. Drawing from empirical qualitative data generated from creative person-students, artist-academics, curriculum documentation and observations of assessment, the contexts around these emerging discourses are discussed, and their significance for the novice artist's feel, and the agency of artist-teachers, explored.

Volume 21 Number 6: Mesías-Lema, J. M., López-Ganet, T., Calviño-Santos, G. (2020). Atmospheres: Shattering the architecture to generate another educational discourse in art education.

This article seeks to share the experience gained in the expository projection Atmospheres for Educational Change, a curatorial proposal focused on educational activity that took identify at Normal, the cultural intervention space at the University of A Coruña, aimed at criticizing the position of contemporary art in pedagogy and social club. Atmospheres reflected on the life and routines of individuals in collectivity. It invited the spectator to an interaction betwixt the aesthetic artificiality of the created surroundings and the naturalness of the sensations generated within. These were environments that invited discomfort, with artistic installations that functioned as social agitators—politically incorrect and educationally transformative.

Volume 21 Number seven: Kvammen, A.C., Hagen, J.K., Parker, S. (2020). Exploring new methodical options: Collaborative educational activity involving song, trip the light fantastic toe and the Alexander Technique.

In an attempt to bridge the gap betwixt the singled-out pedagogical strategies frequently employed in the respective fields of song and dance, this study investigates how collaborative teaching and dialogue can serve as a starting bespeak in finding new teaching and learning methods. This pilot study involving three teacher-researchers and three students aims to show how the practical work of Alexander Technique (AT) applies the theory of embodied cognition and embodied learning in a practical context. Findings propose that education and learning processes in the field of musical theatre need to take their foundation in the domain of embodied learning. We argue that the dichotomies between heed and trunk influence methodology and the way nosotros apply language; we propose AT as a method to guide collaborative instruction in order to discover how the student learns in an embodied way, implementing principles from AT in the teaching of musical theatre students.

Volume 21 Number 8: Sivenius, A., & Friman, I. (2020). Tin can I? Dare I?

This article describes the role of an arts-based research project in the lives of young people participating in a youth workshop. The participants shared stories about their past, present and future with words and pictures. Nosotros sought to answer the question: What is the meaning of looking at one'south own life story in the context of a communal art project? Nosotros familiarized ourselves with a youth workshop via staff interviews, observation and through documents. The goal of the projection was to produce a work of art in eight weeks. During the two months, the young people in the project described their lives in written assignments, fabricated paintings of their lives and then far, wrote working diaries and were interviewed. The paintings together formed a larger whole, which was on brandish at a shopping mall. The study opens new points of view by analyzing the meanings produced by those who participated in the project.

Volume 21 Number 9: Bremmer, Grand. & van Hoek, East. (2020). Teamplayers: 4CO-teaching in arts teaching in primary education.

This article describes the qualitative study of the redesigning of a course based on the Canadian "4CO-teaching method" for student teachers. This method consists of iv different phases of co-instruction: co-pattern, co-execution, co-debriefing, and co-reflection. Through this way of co-teaching, pupil teachers in both primary education and in arts pedagogy (theatre, dance, and visual arts) were taught how to design arts lessons for primary education together, how to carry them out every bit a couple, and how to jointly reflect on their lessons. The form, called "Teamplayers", aimed to teach these student teachers how to complement their cognition and skills during the designing and instruction of arts lessons and, thus, enhance the quality of arts education. This research study evaluated the design of Teamplayers and the students' experience with the method of 4CO-educational activity with the aim of improving the course.

Volume 21 Number 10: Toscher, B. (2020). The Skills and Knowledge Gap in Higher Music Education: An Exploratory Empirical Report.

Enquiry claims that entrepreneurial skills and cognition are of import for the careers of musicians (Bennett, 2016; Breivik, Selvik, Bakke, Welde & Jermstad, 2015; Coulson, 2012). Alumni of higher music didactics (HME) report "a gap between the perceived importance of such [entrepreneurial] skills and their acquisition" (Miller, Dumford & Johnson 2017, p. 11). As a response, institutes of HME have integrated arts entrepreneurship pedagogy to aid music students acquire these skills and knowledge to a greater extent (Beckman, 2005, 2007). Yet, specifically which entrepreneurial skills and knowledge (Lackeus, 2015) arts entrepreneurship education helps students acquire lacks empirical support and joint. In this exploratory airplane pilot report, I create, disseminate and use exploratory data analysis (Tukey, 1977) to understand the descriptive statistics of survey responses from teachers and students of HME in Kingdom of norway. Respondents rated the perceived importance and conquering of a diversity of skills and knowledge while because students' future careers. Students besides reported to what extent they felt they learned entrepreneurship through their current written report program. Consequent with previous research, the findings show a "gap between the perceived acquisition of skills and the importance of such skills" (Miller et al., 2017, p. 11) in HME. The largest gaps in this study are for the following specific skills and knowledge: sales/marketing, market/manufacture, financial, social media, and business planning. Additionally, equally students report they felt they learned entrepreneurship to increasingly larger extents, this gap is closed and narrowed. This shared trend between the increased extent of entrepreneurship learned past music students and the perceived increment in the acquisition of various skills and knowledge is new insight for the field. Implications for arts entrepreneurship practitioners are discussed in improver to some ideas for future in-depth research.

Volume 21 Number 11: Rockell, K. (2020). Knowing Noh and 'Nō-ing' English through Intercultural Performing Arts.

This paper takes the form of a detailed study discussing the development, rehearsal and presentation of a short English language Noh-style play performed by Japanese academy students in 2018–2019. It shares students' perceptions in response to the flow of rehearsals and performances, which were documented with ethnomusicological fieldwork methods. Music and drama are increasingly recognized internationally equally effective vehicles for language education and in this case the aspiration to main 'a tool of global advice' is coupled with local sensibility and an important Japanese heritage tradition. Contemporary cyber-culture immersed Japanese youth sometimes express footling interest in traditions such as Noh. This project prompted a greater appreciation of traditional Japanese culture amid such students. The benefits of regular practice of the declamatory speech communication that is basic to Noh chanting was also found to exist especially benign to students' confidence with spoken English.

Volume 21 Number 12: Moilanen, J. H. & Mertala, P-O. (2020). The meaningful memories of visual arts education for preservice generalist teachers: What is remembered, why, and from where?

Research that examines generalist preservice teachers' memories from the viewpoint of a specific discipline is scarce. Equally generalist teachers' self-efficacy varies between subjects, subject area-oriented inquiry is needed. This qualitative study explores the meaningful memories of visual arts teaching for twenty-one preservice generalist teachers in Republic of finland. The data, analyzed via an abductive arroyo and a constant comparison method, consists of participants' written memories. According to the findings, the nature of preservice generalist teachers' memories of visual arts education is a result of negotiation between personal (i.e., their personal human relationship with visual arts) and structural (i.e., changes in curricula) aspects. Teachers were presented as playing important mediatory roles between these ii domains, equally both the positive and negative memories of the participants often included personified descriptions of their teachers. The implications for both visual arts and instructor education are also provided.

Volume 21 Number 13: Walton, C. W. (2020). "Information technology just made me want to do better for myself": Performing arts didactics and academic functioning for African American male high school students.

A wide body of research has been conducted which examines the relationship between arts engagement and academic performance for the full general population of students in U.Due south. schools. To date, few studies accept been conducted that examine the furnishings of arts-based learning experiences on African American males' academic functioning. To address this gap in the literature, this case study uses interviews and post-graduation outcomes to explore the effects of school-based performing arts engagement on bookish functioning amongst African American male person high school students. Findings from this project indicate that immersion in school-based performing arts learning experiences strengthens bookish skills development, improves overall schoolhouse performance, and enhances post-school outcomes for African American male high school students. These findings advise that bolstering arts-based school curricula and increasing admission to performing arts learning experiences may improve school outcomes for African American males who attend U.S. public schools.

Volume 21 Number xiv: Johnson-Green, E., Lee, C., & Flannery, M. (2020). A Musical Perspective on STEM: Evaluating the EcoSonic Playground Projection From a Co-equal STEAM Integration Standpoint.

Research on teaching and learning in integrated instruction has focused on connections between arts and not-arts domains to provide a comprehensive experience for M-12 learners. Recently, STEAM (Science, Technology, Engineering science, Arts, Mathematics) didactics has explored arts integration for more constructive Stem learning. However, effective integration is oftentimes elusive; the arts are sometimes diluted every bit a outcome of well-intentioned integration within Stalk subjects, with Stem learning risking similar superficial treatment within arts curricula. This qualitative airplane pilot study focuses on The EcoSonic Playground Projection (ESPP) – an integrated STEAM projection for students of all ages – and evaluates its effectiveness from a co-equal integration standpoint, where participants use skills across STEM and arts areas equally in service of a common, musical goal. Findings suggested that this project supported, the application of existing cerebral and social-emotional skills and STEAM practices within an arts framework while fostering in participants the synthesis of new connections among skill areas. While recognizing findings are context specific, conclusions and recommendations may be of particular involvement to educators and researchers exploring STEAM or other arts integration initiatives in the classroom.

Volume 21 Number 15: Hogle, L. A., & Bramble, C. (2020). Teacher agency through duoethnography: Pedagogical Deoxyribonucleic acid in a customs of learner-teachers.

Through a duoethnographic report (Norris, 2008), Caitlyn, a newly graduated music educator and now masters pupil, and I, a seasoned music educator and new music teacher educator at Caitlyn'southward alma mater, collaboratively explored the experience of preservice educational activity from our divergent roles and generational perspectives. Seeking to understand evolution of music teacher agency, we entered into a procedure of duoethnographic dialogue journaling as a primary information source. Ascribing to the tenets of this innovative qualitative methodology, we created and interrogated interwoven dialogic narratives every bit we mutually investigated curricular approaches to and practices of the concluding year of preservice music education. The co-constructed process of duoethnography (a) enabled u.s. to synthesize theory and enquiry method with practice; (b) fostered development of professional identities through reflection within equitable and collegial relationships; (c) and potentially mitigated fears as each participant experienced emancipatory dialogue toward positive alter, heightening music teacher agency.

Book 21 Number 16: Robin, A. (2020). Colores de Latinoamérica: Teaching Latin American art in London (Ontario, Canada).

This article is a reflection as a instruction scholar of Latin American art in London, Ontario, a city, as many others in Canada, where there is no major Latin American collectionfor students to visit. The experiences narrated are related to a specific course taught in the Fall of 2016 at Western University and to two exhibitions that took identify during that time in London, TransAMERICAS: A Sign, a State of affairs, a Concept at Museum London and Mountains & Rivers Without Cease at the Artlab Gallery of the John Labatt Visual Arts Centre at Western University. Information technology is furthermore informed by the experience of instruction Latin American visual culture to non-art history students in Spanish for many years. This essay dialogues with practices of agile and experiential learning, specifically for language learners. It offers the voices and insights of the students, detailing how the exhibitions were perceived and experienced by them, through their written essays and in-form discussions.

Volume 21 Number 17: Rufo, D. (2020). Tagging tabletops: How children'southward drawings on school furniture offer insight into their learning.

In the bound of 2011, a teacher allowed his fourth and fifth form students to draw and write on their classroom tables. What began as a few names eventually turned into a series of frenetic marks that completely covered the tabletops. Over the course of 2 years, new groups of students brought with them another cycle of marking that evolved in the form of notations, designs, and fifty-fifty carvings. The teacher documented this process over the years collecting data in the form of digital photographs, video clips, email communiqués, and instructor journal entries. This paper presents an analysis of the information, a discussion on the effects of allowing full general simple classroom students a meaning degree of creative bureau, and the pedagogical impacts of that bureau.

Volume 21 Number 18: Aspán, M. (2020). The tale of Red Riding Hood and the Wolf equally a multi-literacy tool for reflection and embodied learning.

This article concerns how teaching artists, associated with the Swedish Majestic Opera, provided aesthetic opportunities to students during a three-yr school projection. One intervention is scrutinized in which the storybook of Red Riding Hood was used as a starting point for further aesthetic learning, culminating in a shadow theatre performance. With an ethnographic approach, the study identifies how a folk story can act as a multi-literacy tool for learning. The children's working processes and performance are interpreted under the inspiration of the Operation Cycle (Landay & Wootton, 2012) focusing on the cogitating process.

Via a pragmatic discourse analysis, interview information from focus groups with children show that the interventions offer varied learning opportunities. Three themes emerge from the assay of the children's perspectives on the arts project, every bit learning opportunities linked to; (i) the fabric and the construction assignment; (ii) embodiment and emotionality; and (iii) social aspects and the importance of social interaction and friendship.

Book 21 Number nineteen: Lehtonen, A., Österlind, E., & Viirret, T.L. (2020). Drama in education for sustainability: Condign continued through apotheosis.

In this article, we argue that drama can serve as an interconnecting method for climate change education. In this study, we elaborate the do of drama and participation experiences through three drama workshops: one) process drama work on the global, social, and private aspects of climate change, 2) outdoor drama practice on relations to nature, and iii) reflections through drama practise. The human dimension of the sustainability issues, conditions of interdependence, and collaboration were explored and manifested through the drama practices, which created frames for embodied, creative and cognitive dialogues between people with different perspectives. Beingness differently—as experienced through the embodied, collective, and creative practices of drama—seemed to promote experiences of interconnectedness, widen perspectives of sustainability, and motivate acting differently.

Volume 21 Number 20: Dwyer, R. (2020). "Music is special": Music teachers navigating professional identity within a process of arts curriculum reform.

Processes of curriculum reform are often a catamenia of upheaval for teachers and schools. As values and priorities change and new knowledge and skills are required, teachers observe themselves occupying new positions upon the school landscape. In the example of the Australian Curriculum: The Arts, some of the concerns emerging from recent reforms include bereft grade time to cover the new content, inadequate support and resources for planning, and challenges stemming from five distinct arts subjects being grouped into a single curriculum, without a shared feel as "the arts". This paper explores the impacts of this particular curriculum reform on iii music teachers' piece of work, specifically the means in which they position themselves and their work equally music teachers in relation to the arts curriculum. Their stories highlight the importance of professional networks and relationships in developing new curriculum cognition, and point to possibilities for developing shared understandings as teachers of the arts.

Volume 21 Number 21: Chung Due south. K., & Li, D. (2020). Socially engaged art teaching: Exploring issues of homelessness in an unproblematic art classroom.

Over the past two decades, the field of art education has emphasized visual culture art education for developing visual literacy. More recently, social justice art education has come into focus since there have been many unresolved social justice issues in American society. Underprivileged groups such as persons experiencing homelessness take not all the same gained public attending, nor have they evoked from the regime a truthful sense of urgency. Homelessness often occurs at the intersection of unemployment, poverty, domestic violence, substance corruption, and mental health disorders. The affect on families, particularly young children, can be profound. The essential part of social justice art education is to provide a safe learning place for students to vox unjust social conditions through fine art. A case study was conducted in a large urban metropolis in the southwestern United States to explore elementary students' perceptions almost homelessness and how gimmicky activist art inspires students to envision a more simply club. The article begins with a literature review of socially-engaged art didactics and discusses homelessness issues in art pedagogy, starting time past describing several art examples past a contemporary mural artist, Skid Robot, who has addressed homelessness in his art. Inspired by Robot'due south art, unproblematic students in a relevant art lesson expressed their views on various issues regarding homelessness and "drew" a home for homeless persons through a printmaking do. Students' artwork and their implications for social justice art teaching were provided.

Volume 21 Number 22: Bird, J. (2020). More than words: Performance ethnography every bit a research method that values sustained ethnographic orientation and imaginative theatre-making.

Operation ethnography is a class of performed research that creates a theatrical representation of ethnographic inquiry. Walford (2009) proposes that frequently performance ethnographers fail traditional ethnographic practices such as participant observation and substantial time in the field. This newspaper draws on research which investigated the practices of a operation ethnographer who adopted a sustained ethnographic orientation throughout the interconnecting phases of fieldwork, analysis, estimation and representation (Wolcott, 1995). The paper considers how these practices influenced, shaped and enhanced the researcher's theatre making practices. The research revealed that the embodied and tacit cognition generated through a performative approach to ethnographic inquiry lends itself to a layered and rich way of theatre making that involves more than a transference of verbatim text into a script. This paper documents the performance ethnographer's commitment to sustained ethnographic processes as she synthesizes detailed and circuitous insights into an action-based, artistic theatrical representation.

Volume 21 Number 23: Athanases, S. Z., & Sanchez, South. L. (2020). Seeding Shakespeare and drama in diverse 21st-century classrooms through a cross-national partnership: New teachers' challenges and early practices.

Classroom drama holds promise for pupil learning across disciplines. When Shakespeare'south works are included in various classrooms, supported by drama activities, students can embody, voice, and explore themes and societal problems, bringing such themes live. This study documents challenges and opportunities reported past teachers in their first-year teaching as they participated in an innovative cantankerous-national partnership between Globe Teaching, Shakespeare'southward Globe, London and the School of Education, University of California, Davis. Survey results found new teachers' value exceeded their self-confidence in implementing Shakespeare and drama-based practices in their education. Teachers managed to infuse drama activities in classrooms, conducted inquiry into students' responses, and reported the need for farther preparation to enact plan practices. Ii vignettes of classroom work further illustrate challenges and possibilities of partnership practices, and highlight needed adaptive work for successfully incorporating drama and Shakespeare in classrooms to explore social, cultural, and historical conflicts, themes, and dilemmas.

Volume 21 Number 24: McManimon, S. K. (2020). Fracturing and re-membering: Exploring educational crisis through performative mapping.

"Fracturing and Re-Membering" is a performative mapping combining critical autoethnography and verbatim theatre that re-presents the entanglement of the fragmented and fractured work of teaching, professional development, and enquiry. Information technology draws on data from professional development sessions of a critical literacy and artistic drama program that partners U.S. elementary schoolhouse classrooms with Teaching Artists from a nonprofit theatre company. While the performative mapping tin can stand alone, I first explain professional development experiences I facilitated for these Teaching Artists on Kumashiro'southward (2009) conception of crunch in relation to learning; I then outline the research process that led to the performative mapping. Following the performative mapping, I reverberate on how using creative drama as educational activity in professional evolution and as enquiry facilitated re-membering ourselves both individually and collectively as we worked through crises forcing us to confront troubling noesis. The performative mapping invites audiences/participants to practise so besides.

Book 21 Number 25: Sesigür, A., Edeer, S. (2020). Identify-based disquisitional fine art education: An action enquiry.

Identify-based disquisitional fine art education (PBCAE) blends an emphasis on identify-based education and ecology with the cultural focus of critical instruction, the intention beingness to provide education that takes the ecological, cultural, social and political issues of a place into account. With this goal in listen, visual arts teachers are expected to employ places as resources. It is thus important for visual arts teacher candidates to feel PBCAE, as this will allow them to observe and interpret the role of their identify of residence in the creation of fine art, and to learn how to integrate identify into the pedagogy process. This study shows how PBCAE can assist candidate teachers to develop their artistic expression skills and to connect their experiences in this process with art education. The study adopts a qualitative research approach and an action research design, and was conducted with the participation of candidate teachers in half dozen focus groups as part of the Primary Fine art Workshop-III course in the 2015–2016 academic year. Data for the report was collected through observations, semi-structured interviews, participant and researcher diaries, and the participants' art works. This data was analyzed using an inductive analysis technique. It was constitute that the private and collective relationships formed with a place were experienced in an integrated way in natural, cultural, aesthetic and critical terms, and that these experiences were associated with daily life and subsequently reflected in the art making practices. In conclusion, dialogue-based communication involving discussions, interactions and cooperative efforts was found to contribute to the development of the critical thinking skills and place sensation of candidate teachers, and encouraged the making of associations betwixt place, art and educational activity.

Volume 21 Number 26: Jusslin, S. & Østern, T. P. (2020). Entanglements of teachers, artists, and researchers in Pedagogical environments: A new materialist and arts-based approach to an educational design enquiry team.

This written report investigates the collaboration betwixt ii teachers, a dance teaching artist, and a researcher within an educational design research project, that integrated artistic dance into 5th-graders' reading and writing processes. To study this design team, nosotros draw on the theoretical field of new materialism and the methodological field of arts-based research. Performing a diffractive analysis, nosotros identify v entanglements in the design team and discuss how they affect the pedagogical realities and noesis generation. Considerations on how to create a safe environment, relate to information equipment, build trust, and reserve enough time for lessons and pattern meetings can deed as guidelines when collaborating in design teams. (Re)considering and (re)thinking who the team members are, how they work together, and why they enter a pattern research project tin can provide deeper agreement of and respect for the important what aspect in EDR—developing valuable knowledge for educational practices.

Volume 21 Number 27: Mamur, N. (2020). A critical analysis of aesthetics and cultural texture of shopping malls in instructor instruction: The ideology of infinite.

This instance study addresses an activity called "Ideology of Space" in the context of a visual civilization-based in-service instructor education program. In the written report, teachers applied a multidimensional analysis to mall spaces, which serve as a good case of everyday aesthetics. The action consisted of a series of implementations aimed at examining how credo is experienced through spaces in daily life. It included pedagogical approaches that encouraged teachers to critically evaluate the shopping malls they visited by using their noesis and aesthetic value judgments to examine elaborately the shopping malls, not only in the context of the economic system but also within the cultural, political, and ecology contexts. The implementation process focused on visual civilization and sustainable learning. The participants of the research were chief classroom teachers and secondary schoolhouse visual arts teachers. In the written report, the analysis unit encompassed the experiences of the teachers who attended the action.
While tracing the aesthetics that leak into every surface area of life with different functions through space, teachers examined the social, environmental and economic dimensions of such leakage and were encouraged to question their own teaching processes. The results denoted that the activity enhanced teachers' learning experiences and, by this means, promoted their professional and personal evolution. Teachers' expressions revealed that the visual art teachers rarely use learning approaches that nurture the intellectual procedure earlier implementing lessons in their classes. Furthermore, the educational process enabled teachers to critique themselves with regard to the use of cerebral and interactive pedagogies in their classes. Teachers developed ideas to amend their own art lesson activities through the experiences they gained during the activeness.

Book 21 Number 28: Hall, E. H. (2020). My rocket: Young children's identity construction through drawing.

The communicative potential of young children's drawings was explored through case studies of fourteen children anile 4 - six (eight girls, six boys) at a rural English school. Informed by socio-cultural theories, the research queried what and how the children communicated through drawing, besides as influences on their choices. About 800 spontaneous drawings were nerveless, along with interview and ascertainment information. Identity was the main theme communicated, with evident gender differences. However, the word of data goes beyond the reductivism of a sole focus on stereotypical gender differences. This paper compares nine rocket drawings, produced by 7 children (v boys, two girls) and contextualises some crucial findings from the wider study. The drawings reflect the children'due south unique, powerful and playful identities and their want to communicate these with others in creative ways. Importantly, individual discussions with the children almost their drawings were essential to gain valuable insights into their worlds.

Volume 21 Number 29: Juntunen, M.-L. (2020). Embodied learning through and for collaborative multimodal composing: A case in a Finnish lower secondary music classroom.

This article analyzes how embodied learning was enhanced in a projection in which students made a music video with a tablet, combining music and motion compositions, in a Finnish 7th-course music classroom. Student interviews and reflections, as well equally researcher'due south field notes were used as material for the assay. In the project, embodied learning took place through active participation and multi-sensory perception and experiences. Learning was enhanced by focusing students' attending to and awareness of each action and their kinesthetic experiences, then past cogitating assignments. Preparations for the music and motion compositions included explorative and improvisational Dalcroze-, Orff-, and Laban-based music-and-movement exercises, the rehearsal of motility material for composition, and the cosmos of a safe and comfortable social space. Making the video fostered embodied learning since it required students to remember, re-experience, and use previous activities, and incorporated multimodal expression. Tablets served equally easy and manageable digital tools for pregnant-making and multimodal expression in addition to making achievements both explicit and shareable.

Volume 21 Number xxx: Lee, B. K., Enciso, P., & Brown, K. R. (2020). The effect of drama-based pedagogies on One thousand-12 literacy-related outcomes: A meta-analysis of thirty years of research.

A recent national report heartily supported arts integration as an effective, innovative, and toll-efficient way to address teachers' and students' needs; however, the written report chosen for a better understanding of when, for whom, and what content areas are best served by arts integration methods. The effectiveness of drama-based pedagogy (DBP), a type of arts integration, has been assessed in previous meta-analyses; however, an updated meta-analysis is warranted. In the present report, we review and meta-analyze thirty years of accumulated research of the effects of drama-based pedagogies on literacy related pupil outcomes. The findings bear witness a significant positive effect of DBP on achievement, attitudes, 21st century skills, drama skills, and motivation. In particular, effects are more positive when DBP is led past a classroom teacher over multiple hours of instruction. Limitations and implications are discussed.

Volume 21 Number 31: Wienk, J. (2020). In conversation with four handbooks: On the current state of arts education in the 21st century.

Entering the new millennium, the field of arts didactics asserted to have undergone some substantial changes. I explore these assertions by analysing the discourse in four recent international handbooks on arts education, focusing on the perspectives of the editors, specifically the lens they use to frame, organise, thematise and shape the field of arts pedagogy. Based on the key concepts, recurring themes and grand narratives that the editors' lenses collect and testify, I firstly describe the historical timeline formed by the four handbooks published from 2004 to 2017. Given the constraints set up, my research does not include the 3-volume International Encyclopedia of Art and Pattern Education has been published in 2019. Secondly, I search for dimensions that are overlooked or underexposed, due to these lenses. To conclude I connect these findings to my experience every bit an fine art instructor leading to the observation that art in education bears a particular potential for education. To address this notwithstanding, enquiry and education that relates more than closely to the nature of the arts is needed.

Book 21 Number 32: Sefton, T. K. & Sirek, D. (2020). Musical cocky-portraits and representations of non/conformity: In the music classroom with preservice generalist teachers.

Cocky-portraits are a genre of fine art, simply also constitute artefacts of identity. This inquiry explores pupil-created musical self-portraits produced by more than 150 generalist instructor teaching students (preservice teachers) in Ontario, Canada over a menses of iii years. The self-portraits were completed and submitted as an assignment at the beginning of the term in a compulsory music education course. This paper examines the cloth exercise, influences, and symbols that students used. Most of the self-portraits conformed to the thought of 'the good teacher', while only a few represented identities that lay outside social norms. The findings contribute to an agreement of how students may groom their cocky-epitome and construct a public identity to fit the institutional and cultural ethos of preservice teacher education programs.

Volume 21 Number 33: Kouhia, A. & Rönkkö, G. (2020). Crafting the city: Promoting heritage sensation through craft making in a historical boondocks.

This newspaper reports on a project designed to promote the understanding of the World Heritage site of Former Rauma, Finland, with the assistance of craft activities. Through fieldwork and an analysis of the data collected from two craft interventions, the newspaper examines how craft making can serve equally a medium to celebrate a sense of identify and inspire people to deliberate the role that heritage occupies in their everyday lives. Based on the written report, it can exist concluded that attending needs to be placed on the teaching and learning of creative practices in order to contribute to the makers' perceptions of placeness and to sustain local evolution likewise as to promote heritage in a historical town.

Volume 21 Number 34: Dryburgh, J. (2020). Vital entanglements: An exploration of collective effort in the dance technique course.

Peers influence each other and learning can be shaped by shared processes. The purpose of this commodity is to pedagogically explore collective effort in the dance technique studio in a conservatoire setting. This practice-based research flows from the studio and has relevance for all higher arts education contexts. It is developed from the experiences of students and a teacher/researcher in the procedure of prioritising attentive peer observation as a strategy for shared learning. Qualitative data has been thematically analysed, through a feminist interpretive ethnographic approach, in order to bring insight to the complexity and interdependency of learning. Pedagogical roles have been reconceptualised and the influence of peers is discussed equally embodied acts of recognition. Furthermore, the experience of disengagement amongst peers is reframed as agential dissent and the dance technique class is articulated as a potential model of agreement what it can mean to live well among others.

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Source: http://www.ijea.org/v21.html

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