Alexandra Lasczik

Situated within the methodology of arts-based educational research (ABER), this entry explores visual modalities and portrayals as critical languages in education. Specifically, it takes up the experimental premise in an earlier publication (see Lasczik Cutcher 2018) that calls for a privileging of visual dialogues (e.g., photography and painting) to express, document, explain, and cite theoretical dispositions in educational research texts. In ABER, visual modalities to express, analyze, theorize, disseminate, and interrogate educational research are a foregrounded modality, and a privileging of visual texts indeed transcends and flattens language barriers, seeking an egalitarian reading and access (Fig. 1).

Displacement, Identity and Belonging is a book about difference. It deals with ethnicity, migration, place, marginalisation, memory and constructions of the self. The arts-based and auto/biographical performance of the many voices in the text compliment and interrupt each other to create a polyvocal rendition of experience. The text unfolds through fiction, memoir, legend, artworks, photographs, poetry and theory, historical, cultural and political perspectives. As such, it is a book that confronts what an academic text can be.
Written in the present tense, it weaves its narrative around one small Hungarian migrant family in Australia, who are not particularly special or extraordinary. Their experience may appear, at least on first blush, to be paralleled by the post-war diasporic experience for a range of nations and peoples. However in many ways, this is not necessarily so. It is this crucial aspect, of the idiosyncrasies of difference that is at the core of this work.
The layering of stories and artworks build upon each other in an engaging and accessible reading that appeals to a multitude of audiences and purposes. This work can be used as a core reading in a range of courses in education, teacher education, ethnicity studies, cultural studies, sociology, psychology, history and communication. The book makes significant contributions to the literature on qualitative research, and in particular to arts-based research, auto/biographical research and autoethnographic research.
Displacement, Identity and Belonging is in itself an experience of journey in the reading, powerfully demonstrating a life forever in transit.

This paper scrutinizes the dichotomy of the uneasy and easy partnerships that exist between digital technology and visual arts education. Specifically, the claim that by putting computers into schools “we have bought ‘one half of a product’ … we’ve bought the infrastructure and the equipment but we haven’t bought the educational piece” (McKenzie, 1999 as cited in Joyce, 2005, p. 52) is considered.  Despite the ease with which many art educators have embraced technologies and tools for artistic practice in their classrooms in the past, implementing this latest tool into the visual arts classroom has been somewhat problematic. These issues and ways that “the educational piece” of the product can be addressed are examined, reasoning that the synergistic relationship between the visual arts and technology has, historically, been productive.

Shortly after being informed of his brother's suicide in 2002, Mic descended into a suicidal crisis of his own. As he had already attempted to take his own life on two separate occasions as a teenager, he began to fear for his safety. His brother's death acted as a catalyst to begin a process of self-discovery though art. As a sculptor and installation artist, Mic began by creating artworks that incorporated life-affirming qualities within them. This paper explores the doctoral research that developed from Mic's practice and experience and is supported by the voice of Mic's supervisor, Lexi, so that the context for the work may be explored. It is a collage of voices, images and text. Despite the research in the field regarding suicide there is a dearth of study undertaken by suicide attempt survivors themselves. The doctoral inquiry described in this paper aims to address the void that exists within suicidology and provides an expression of the lived experience of suicide. The voices of Mic, the artist-researcher, of the artworks he created, of his collaborators in these artworks, and of Lexi his supervisor, alternate in the telling of this research and its attendant

Developing one’s creative potential is a basic
human right, and thus the relationship between
democracy and creativity is ineffable. Reggio
Emilia pedagogies recognise this intrinsically;
teaching through this modality embeds deep
learning and an aesthetic awareness not often
evident in formal schooling, despite the overwhelming
evidence regarding the value of
a sustained art education. Our children are
all born creative and brave, yet something
happens to them as they grow – the opportunities
to express themselves artistically at school
become minimised, the art curriculum becomes
marginalised, and our children’s creative genius
falls away. What would Reggio Emilia look like in
the High School classroom? Imagine a curriculum
where all students’ creative potential was
nurtured, every day. This article explores this
proposition, and argues that by utilising
the highly successful pedagogies of Reggio
Emilia, we can attend to the fundamental right of
every child to an education that nurtures their
inherent creativity.

This article describes a small, collaborative, arts-based research project conducted in two rural early childhood centres in regional Australia, where the children made large-scale collaborative paintings in partnership with teachers and researchers. Observation of young children's artistic practices, in order to inform the development of pre-service curriculum and pedagogy was a central aim of the project. The findings are framed with respect to pedagogy, practice and learning: the pedagogy that supports children's artmaking; the benefits of learning in and through the arts, and the notion of collective practice in early childhood settings. Findings suggest that collaborative and inter-generational artmaking in early childhood settings enable powerful learning opportunities. A combination of establishing a rich art environment, applying constraints, yet allowing for children's agency can create a rich and engaging art education, which is vital in any setting if children are to develop their aesthetic awareness, artistic skills, and critical, abstract, imaginative, collaborative and creative thinking. The role of the proactive art educator in children's development is crucial, which has implications for teacher preparation and in-service professional development. These project findings also have implications for ecologies of learning and communities of practice from early childhood to higher education. KEYWORDS collaborative artmaking, arts-based inquiry, arts-based research, early childhood , collaborative painting Orientation Visual arts education in early childhood settings is a contested site in Australia (Deans & Brown 2008; McArdle 1999) and the debates have traditionally focused on the pedagogical tensions between facilitation and complete autonomy, both equally contentious. The child-centred approach of early childhood education (ECE) has previously prescribed that children discover their artmaking practice on their own, that children's art is merely expressive and that the conditions that allow for such artistic practice to mature instinctively be the only imperative required (McAr-dle & Piscatelli 2002; McClure 2011). Advocates for this approach have argued that the natural development of the child without adult intervention is the accepted model, that processes are more important than outcomes, that there should be autonomy rather than any sort of teaching of the discipline and that art is a iJADE 0.0 (2016)

There lingers a crisis of representation with respect to arts-based doctoral research. Despite the progress made by researchers and the suitability of the digital environment for the reception of arts-based research, authentic portrayal continues to be an issue that troubles the possibilities for dissemination. As such, the artistic freedoms of the research and its expressions are compromised, and so too are the integrity and authenticity of the research. Performance or exhibition grounded doctoral dissertations continue to be underserved in the examination process as well as the mandated subsequent research dissemination in text-based documents. This paper examines issues of presentation, representation and representation of creative and practice based doctoral dissertations, and specifically explores ways in which artists can perform the text and text the performance so that the work remains authentically arts-based.

As children grow older, they seem to lose their uninhibited enthusiasm for painting and drawing, and leave behind what is perhaps the best art-making of their lives. What can educators learn from the art-making of young children in early childhood settings? Can this learning be transferred to other educational settings, such as the primary school, to support children's ongoing art-making and creativity? This paper reports on an intensive art-making project in an early childhood setting, recognised for supporting children's creative art-making in an authentic and continuous manner. The philosophy, theories and pedagogical approaches used in this centre and in the project are reported and analysed with a view to developing deeper understanding of application of effective art education in primary schools. Specifically, the authors contend that best practice in early childhood education theory, philosophy and pedagogy can inspire effective art education in other educational settings.

This paper describes a collaborative arts-based research project entitled ‘Visual Echoes’ that explored the practicum experiences of pre-service Visual Arts teachers. Developing from the methodology of a/r/tography, this inquiry employed visual mapping as an approach to performing (rather than representing) the interrelationships between art, teaching and research. The pre-service teachers drew upon their individual and collective practicum experiences to generate visual reflections, which were then translated into two large-scale paintings through a series of collaborative art practices. The interventions of the instructors allowed for a participatory process to be improvised, generating a multi-layered and authentically collaborative learning experience for all involved, together with the resolved and unresolved visual documentations.  This artistic process complemented the spontaneous creation of social networks of interaction and discourse, which were both hidden and revealed in the material formations of the artefacts. In this paper, an analysis of the research process and evidence is framed through the methodology of a/r/tography, contemporary art practices associated with cartography, and the conceptualisations of affect and the map found in the work of Deleuze and Guattari.  We integrate these three theoretical and practical sources within our own methodology of c/a/r/tography, as developed over the course of the ‘Visual Echoes’ project.  This approach has enabled us to map onto the transversal movements of affect and subjectivity as they have become increasingly entangled within a palimpsest of artifacts, images and texts.