A/r/tography

Photographs are often used in educational research, particularly studies using visual arts research methodologies. The visual and conceptual relationships established between the pictures themselves in a research report are decisive for scientific and artistic quality. We recommend the use of concepts such as ‘photo series’, ‘photo essay’, ‘photographic discourse’, ‘photo abstract’, ‘photo conclusion’ and ‘photographic quotation’. Each concept fulfils a different function and value as a specific research criterion. The article offers definitions of some of these concepts and shows photographic portraits made by students in the primary teacher education department at the University of Granada, drawing on the work of Lewis Hine.

This study contemplates one facet of academic motherhood through the use of artful research approaches in qualitative research to examine the (im)balance of being a mother writing academic works while raising and caring for a young child, as presented in an online hashtag Facebook campaign, #amwritingwithbaby. Specifically, this study uses an analysis of online posts and arts-based representations of findings through a comparison of narrative, poem, and word clouds. Through using popular media for representing the findings, this study helps address the accessibility of artful inquiry into the growing body of works seeking equity for women and mothers in academia.

El vídeo-ensayo como forma de pensamiento audiovisual tiene sus máximos re- ferentes en el denominado cine de ensayo y algunas de sus producciones pueden ser incluidas dentro del ámbito del videoarte. Sus características pedagógicas lo convierten en una estrategia de indagación y aprendizaje audiovisual apropiada para la enseñanza artística, especialmente en la comprensión de las diferentes formas, procedimientos y técnicas relacionadas con el audiovisual contemporá- neo. En este artículo se recoge una experiencia de vídeo-ensayo en el ámbito de la formación inicial del profesorado que sirve para ilustrar su carácter pedagógico y la amplitud de sus posibilidades en la enseñanza.

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O vídeo-ensaio como forma de pensamento audiovisual tem os seus maiores re- ferentes no denominado cinema de ensaio e algumas das suas produções podem até ser incluídas no âmbito da videoarte. As suas características pedagógicas convertem-no numa estratégia de indagação e aprendizagem audiovisual apropriada para o ensino artístico, especialmente na compreensão das diferentes formas, procedimentos e técnicas relacionadas com o audiovisual contemporâneo. Neste artigo dá-se conta de uma experiência de vídeo-ensaio no âmbito da formação inicial de professores que serve apara ilustrar o seu carácter pedagógico e a amplitude das suas possibilidades no ensino.

This user-friendly book provides a step-by-step guide to using the five major approaches to research design: quantitative, qualitative, mixed methods, arts-based, and communitybased participatory research. Chapters on each approach follow a unique format—they present a template for a research proposal and explain in detail how to conceptualize and fill in every section. Terminology commonly used within each approach is identified, and key moments of ethical decision making are flagged. Interdisciplinary research examples draw on current events and social justice topics. Unique coverage includes hot topics: replication studies and data sharing, tailoring proposals to different audiences, and more. The book also includes a general introduction to social research; an in-depth, practical discussion of ethics; and a chapter on how to begin a research study, from planning a topic to developing a research question via a literature review.

Includes Pedagogical Features 

El vídeo-ensayo, como forma de pensamiento audiovisual puede considerarse una forma aislada de creación audiovisual experimental, aunque también conforma una estructura pedagógica de aprendizaje hábil para la alfabetización audiovisual, y un instrumento válido para la indagación en diferentes contextos de investigación, especialmente en Investigación basada en Artes e Investigación Artística. La aplicación de este instrumento como herramienta de investigación, dentro y fuera de las Artes, ofrece distintas estrategias que pueden ser muy útiles en todo tipo de estudios en Ciencias Sociales y Humanidades. Este artículo revisa su desarrollo en diferentes contextos de investigación educativa y los distintos instrumentos metodológicos generados para su aplicación en estas investigaciones, entre los cuales destacan: el vídeo-registro, la vídeo- referencia y la vídeo-evocación. El texto, además, hace referencia a algunos proyectos y programas exhibitivos, como la ‘Muestra Internacional de Videonarración A/r/tográfica’, que desde hace siete años ofrece su cita anual en la Universidad de Granada y en las que se exhiben, revisan y promueven un buen número de estas propuestas de investigación audiovisual que hacen uso de los nuevos instrumentos metodológicos basados en el vídeo-ensayo, posibilitando con ello el acceso a algunas de estas creaciones e investigaciones audiovisuales.

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Video-essays, as forms of audiovisual thinking, can be considered isolated forms of ex- perimental audiovisual creation, although they also constitute pedagogical structures of skillful learning for audiovisual literacy, and valid instruments for inquiry in different re- search contexts, especially in Art-Based Research and Artistic Research. The application of video-essays as a research tool, inside and outside the Arts, offers different strategies that can be very useful in all kinds of studies in Social Sciences and Humanities. This ar- ticle reviews its development in different contexts of educational research, and the differ- ent methodological instruments generated for its application in these investigations, among which the following stand out video-registration, video-reference, and video-elici- tation. The text also refers to some exhibition projects and programs, such as the 'Inter- national A/r/tographic Video Shows' which for seven years has been offering its annual appointment at the University of Granada and in which they are exhibited, reviewed, and promoted a good number of these audiovisual research proposals that make use of these new methodological instruments based on video-essays, thereby enabling access to some of these audiovisual creations and research.

Escrever é simultaneamente pensar e fazer, observar o mundo e criá-lo. E a arte é uma forma de inscrição criativa, que simultaneamente pensa e faz, observa e recria o mundo. Feyerabend fala de uma "abundância de realidade" e da capacidade humana para se centrar em apenas frações dessa realidade. Para ele o objeto de investigação nas ciências (humanas e naturais) é construído através da escrita sobre ele, por oposição a ser inicialmente identificado e descoberto e só depois se escrever sobre ele. Mas a investigação criativa em arte também implica a formulação de questões iniciais, um processo sistemático de recolha, comparação, contraste e interpretação de dados e informação. O seu resultado final serão artefactos e obras de arte, bem como o conhecimento a elas associado e a comunicação do todo. Fazer investigação criativa em artes traduz-se então na produção de um trabalho pelo artista, que também investiga a sua própria criatividade, os seus processos criativos e de comunicação, assim contribuindo para a produção de conhecimento. Não se trata de produzir investigação sobre arte, que até há alguns anos se centrava no método científico e era conduzida por críticos, historiadores e teóricos – e não por artistas. Trata-se de fazer investigação em arte, nela imerso enquanto artista, criador, investigador e relator. A obra de arte é o ponto focal da investigação. A intenção criadora é simultaneamente questão e hipótese. A realização da obra é a respetiva validação (ou invalidação) ou tese. A qualidade fenomenológica hermenêutica e interpretativa da investigação faz com que a mesma incorpore autorreflexão e autocrítica. Contudo, a sua comunicação é construída para o exterior, pelo que as suas ações e objetivos devem ser continuamente documentados e colocados em contexto histórico e disciplinar. Os processos e metodologia descritos neste artigo são um exemplo vivo de como a investigação criativa baseada em artes pode ter, como resultados diretos, a produção de obras de arte, de pensamento científico e da comunicação do mesmo.

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.

Being with A/r/tography is a collection of essays that explain and exemplify the arts-based research methodology called a/r/tography. Edited by four scholars who are artists, researchers, and teachers (a/r/tographers), this book is a methodology book for practitioners in arts-based educational research. In addition to an introductory essay which contextualizes and theorizes the methodological framework of a/r/tography, the book is divided into three main thematic sections that are integral to a/r/tographical research: (1) self-study and autobiography; (2) communities of a/r/tographic practice; (3) ethics and activism. The book concludes with a consideration of issues related to assessment, validity, and interpretation.

Being with A/r/tography will be an excellent core text in graduate courses that focus on arts-based educational research, as well as a valuable text in pre-service teacher education programs. The book will also be significant for qualitative research courses in all the social sciences and the health sciences, including communication studies, nursing, counseling psychology, and arts therapy.

The book provides a clear and comprehensive introduction to a/r/tography. Even though a/r/tography as a research methodology is relatively new in the scholarly field, Being with A/r/tography spells out how scholarly practitioners who are artists and researchers and teachers have been pursuing this kind of research for a long time.

How is the reflexive impulse recognized, valued and taught to the visual artist? Reflexivity is the artistic response to the idea or impulse from the brain. Training reflexivity as a tool is not about training the impulse, but about training the reflexive response to impulse. Acting pedagogy, through improvisation and repetition improves the reflexive response. Using actor-training methods that I have adapted into gestural drawing exercises, visual artists can practice responding reflexively in collaboration with others. Learning and artistry are social processes; they require embodied engagement with others to teach reflexivity and artistic individuality. This research contributes new interdisciplinary language and innovative techniques to visual artist training and identifies artistic reflexivity as a trainable part of a developing artistic process.

This is the preface to a book for teachers, by teachers, from elementary school to university level classrooms. It is about the use of creative instructional strategies in K-12 classroom settings, and the transformations the teachers made in their journeys from being traditional practitioners to “becoming pedagogical” in their approaches to teaching and learning across the curriculum.

Over twenty teachers conducted research in their classrooms on the implementation of creative strategies, tactics, graphics organizers, and visual journals in teaching and learning. They have written their inquiries in a narrative style, informed by various forms of arts based educational research. Their research is approachable and usable by other teachers who are interested in becoming reflective-reflexive practitioners. Many of the strategies, tactics, and graphics organizers are described by Barrie Bennett in his widely used textbook, Beyond Monet: The Artful Science of Instructional Intelligence. However, through their journeys of becoming teacher-learner-researchers, many discovered numerous, creative variations of Bennett’s work as it was implemented in their classrooms.

While there are many professional books that provide ideas on collaborative learning and creative teaching approaches, there is very little published research on the efficacy of these concepts in the K-12 classroom. These inquiries provide practical insights into how inspired teachers can conduct research on improving their own practice as well as on greatly improving their students’ learning. Thus, this book has widespread interest for teachers and administrators who seek to implement systemic changes in the ways that teachers teach, and children learn, in the 21st century.

Using the a/r/tography research method informed the use of expressive arts, ecopsychology, eco-art and spiritual activities for self-work in grief.  Linkages between a/r/tography and the philosophies contained within both the various expressive, therapeutic and spiritual work were investigated.  It has also become apparent that even when applying the a/r/tography method of research with the intention of self-care, it was still conducive to a large output of literary and creative output. The method applied to self-care also appeared to serve to create the foundations for the development of theoretically grounded grief group activities.

Rumi once wrote: “When I stop speaking, this poem will close and open its silent wings” (as cited in Barks, 1999, p. 66). This arts-based dissertation is a personal, poetic, and pedagogical study into the kinship between poetic discourse and spiritual expression where I attend to the question: what does it mean to dwell poetically? (Heidegger, 1971; Hölderin, 1984). I contextualize poetry as “the articulation of contemplative perception” (Laude, 2004, p. 11), “a phenomenology of the soul” (Bachelard, 1964, p. xxi), wherein poetic knowledge is a theoria (Lakhani, 2010). I refer to theoria as a way of intellectual seeing that recognizes the sacred in the mundane, which becomes central to my own poetic vision.
In enacting this (re)search where writing is the inquiry (Richardson, 2000), I use phenomenologically informed perspectives of a/r/tography in qualitative research that “seeks to show and evoke the presence of a lived experience” (Todres, 2007, p. xi), where theorizing through the inquiry process brings forth understandings (Irwin & Springgay, 2008). In this meta work of researching poetry through poetry, I consider each poetic turn a mediation and meditation in “living a life of deep meaning through perceptual practices that reveal what was once hidden” (Irwin, as cited in Pinar, 2004, p. 10). In a research endeavour that is revelatory, this research site becomes insight.
I draw upon Deleuze and Guattari’s (1987) metaphor of the rhizome, the underground root system of plants and theoretical underpinning of a/r/tography, which I reconceptualise in the sky to represent my dissertation as writing into a poetics of light. In visualizing what I imagine as a “sky of inquiry,” I make a call for research that has a “wider epistemological embrace” (Todres, 2007, p. 180) in the poetic gaze changing how, what and whom we see (Leggo, 2004a; Cheetham, 2012). Through lyrical ways, each layer of my inquiry sheds light towards understanding poetry as a contemplative pedagogy. In (re)turning to the poetic I/eye, this research represents a pledge to pedagogical encounters that nurture spiritual literacy where purposeful engagement in creative practices can become a gateway to the realms of spirituality.

Cette thèse doctorale par articles témoigne des possibles des langues autochtones dans les pédagogies de la réconciliation dans l’enseignement supérieur. L’auteure, francophone et non autochtone, y propose une étude a/r/tographique des dialogues critiques, linguistiques, ontoépistémologiques des conciliations ayant émergé de la présence de la langue anishinaabemowen dans un collège francophone situé en territoire traditionnel non cédé anishinabeg. La mise en perspective de cette expérience inclut des conversations avec des aînées et collaboratrices anishinaabeg, des conseillères, et des enseignantes francophones au sein d’un environnement académique colonial. La recherche permet de témoigner, et d’être avec, l’engagement, les vulnérabilités, l’humilité et les responsabilités liées à la mise en œuvre de la pédagogie de la réconciliation au collégial. Les Sept Enseignements sacrés Anishinaabeg et les enseignements des plantes guident nos apprentissages. Semaa (Tabac) nous ramène aux responsabilités, Kishiik (Cèdre) aux intentions et vulnérabilités, Wiingash (Foin d’odeur), aux relations, Mshkodewashk (Sauge), à ce qui est transformé, en nous et dans nos milieux, par une plongée au cœur des réconciliations.

The purpose of the chapter  (text in english and spanish) is to present  'Social A/r/tography' as methodological approach within the context of the most common methodological strategies in research on visual arts and education: quantitative and qualitative methodologies, image based research, arts based research, and a/r/tography.

Anar Rajabali is an educator, poet, and researcher in Language and Literacy Education at the University of British Columbia. Her arts-based dissertation, (Re)turning to the Poetic I/Eye: Towards a Literacy of Light, is a personal, lyrical, and pedagogical study into the kinship between poetic discourse and spiritual expression. As a teacher, her work represents a pledge to pedagogical encounters that nurture contemplative engagement. A recent poem publication is in Journal of Poetry Therapy. ABSTRACT: As an a/r/tographer, I take up the invitation to contemplate and complicate alternative notions of space and time (Irwin & Springgay, 2008). In my poem " Rhizome in the Sky, " I (re)imagine and (re)conceptualize the underground root system of plants and theoretical underpinning of a/r/ tography by visualizing the rhizome in a vertical and aerial space. By disrupting this notion, I (re)search the transcendental planes of my poetic process as a spiritual praxis. In this poetic methodological rumination, I explore the source and the spirit of my artistic desire. This poem speaks to the generative power of the metaphor in arts-based (re)search while crossing and merging the boundaries of art, spirituality and education for personal transformation.

"Extending critical perspectives which have problematized “work,” in this essay we contest rationalist values of “work” through a/r/tography, noting that a/r/tography is particularly suited to troubling the artificial divisions and correlative productivities
between art and research, teacher and student, teacher and researcher, and so forth. We explore the notions of transmediation and pedagogical recognition to suggest that if our educative systems, processes, and imaginations could more generatively
attend to students as creative beings, and if students could be invited to a fuller activity in the world across multiple domains, then an increasing social tendency to accept economic values as trumping all others might be redressed. We argue that how adults value young people in the progress and process of their making art, making knowledge, and making a life, comes to affect the ontology and epistemology of work in all its social manifestations."

In the present inquiry, we initially sought to examine how music teacher backgrounds impact their broader curricular and pedagogical decisions. While there has been an increasing call by some scholars for music educators to provide the widest range of musical experiences in schools and community contexts, a potential obstacle to such an appeal may stem from the fact that many teachers may neither musically nor personally identify with a music curriculum and pedagogy that is either culturally responsive or globally informed (Abril 2009; Legette 2003). Moreover, we recognize the unusually wide discrepancy between research and classroom practice in music teaching, as well as in the ways that traditional music education research is written. We posit that for educators to even consider a more inclusive definition of musicianship and musicking (Small 1998), they must first develop an awareness of the ways in which their own musical identities intersect with, affect, and change their teaching. That perspective, and the notion that research needs to be written in more meaningful and accessible ways to reach a wider audience, may make it possible to link the ways that we have traditionally viewed teacher identities with more contemporary ways of doing research with hybrid forms of arts-based action research.

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.

The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly inquiry, arts-based research needs to be recognized as a potential mode of research in music education. My composition becomes one example of how I demonstrate metaphor to be transformative as I write autobiography as method that embraces artography—a hybrid research form that in this essay employs narrative, autoethnography, lyrics, poetry, music, and pedagogical inquiry—as a music research method. This entails moving beyond the existing rules-based disciplines of music and music education, with a shift toward an understanding of the importance of a multidimensional approach to the values and subjectivity of music and music education research. Autobiography enables me to interrogate the changes, or ruptures, that un/fold as writing metaphorically draws me into the complexities of diatonic tonality (modality). Thus, metaphor propels me to fuse autobiography and tonality to “clarify the conditions in which understandings take place” (Gadamer, 1975, p. 263). Overall, I propose arts-based educational research as embodied, living inquiry through metaphor, as I write myself through music and text to reconcile the inherent complications of legitimizing arts-based research in music education contexts.

You'll need to have an internet connection and access to Vimeo to experience to total impact of this paper. There are nicely stylized links in the paper that will take you away from the pdf, but if you keep your browser open while you're reading, it works rather smoothly. All the music was recorded in my home studio, some tracks with the help of David Murphy, using Logic and various guitars and equipment (info available upon request).

Leggo, C., Sinner, A., Irwin, R. L., Pantaleo, K., Gouzouasis, P., & Grauer, K. (2010). Lingering in liminal spaces: A/r/tography as living inquiry in a language arts class. International Journal of Qualitative Studies in Education, 24(2), 239-256.

The purpose of this inquiry is to investigate how a/r/tography is uniquely situated to enact, develop, and problematize ‘becoming pedagogical’ in an arts-based cohort in a teacher education program. This particular study purposefully grapples with visual and performing arts, in an elementary teacher education program, as teacher candidates ‘learn to learn’ how to inquire through their disciplinary and interdisciplinary frames of mind. We take the position that arts-based research adds to the diversity and complexity inherent in understandings about education and pedagogy. This research was infused through principles of teaching, music and movement, and visual arts education classes at The University of British Columbia. To learn about adopting an a/r/tographic stance in their journeys of becoming teachers, teacher candidates were actively involved in arts-based research workshops, the development of an art exhibition, learning to infuse creative pedagogies across the curriculum, and sharing their arts-based research projects. Their art took the form of public performances with artistic (music, dance, drama, visual) representations of curriculum.

Featured in this essay are the stories of becoming of two pre-service teachers whose learning interwove basic notions of a/r/tography. Their work subsequently influenced the projects of hundreds of pre-service teachers since their experiences as teacher candidates. Through examining this form of praxis, we learned that pre-service teachers who embrace an a/r/tography project—as a mode of artistic expression, as the creation of mature works of art, and as reflective-reflexive inquiry—experience the most success during coursework, during practicum, and into their teaching careers. They possess an ongoing commitment to becoming a/r/tographers and expanding their careers and career paths through artistic inquiry. They are more open to change and professional growth. Moreover, artistry—in the form of visual arts, music, dance, and drama—continues, being and becoming a strong influence in the identities of those individuals. The significance of this work expresses what happens when projects in university coursework shift to a professional perspective and to an embodiment of becoming a/r/tographic. The significance of enabling teacher candidates opportunities to work, both with and as teacher researchers—to create alongside others who are questioning ways of learning, knowing, and doing research; to engage with reflection in a deeply compelling manner—reaches beyond current, traditional conceptions of teacher education to a place of a community of learners engaged in artistic, creative inquiry. We suggest a substantial, artistic, creative shift in the conceptualization and practice of teacher education.

Haciendo uso de la misma estrategia que utilizan Bodenmann-Riter y Beuys en el libro: Cada hombre un artista, Conversaciones en Documenta 5-1972 (1995), proponemos una recopilación de diálogos entre ambos colaboradores como una síntesis conceptual en torno a la Educación Artística y la puesta en práctica de nuevas metodologías de enseñanza basadas en un Aprendizaje Basado en Proyectos que ofrecen nuevas vías de desarrollo a la escuela del Siglo XXI.

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Using the same strategy that Bodenmann-Riter use and Beuys in the book: Each man an artist, Conversations in Documenta 5-1972 (1995), we propose a collection of dialogues between the two collaborator as a conceptual synthesis regarding Arts Education and to implement new teaching methods based on learning based on projects that offer new ways of development in 21st century schools.

In this article, we explore how we live among students and teachers as a/r/tographers and how we become creatively immersed in the wholeness of the classroom experience as a result. This is in contrast to our initial intentions of using ethnographic techniques and qualitative methods. As we began our project, it became apparent that another lens would be more appropriate for our study: this lens was a/r/tography. Exploring our research processes and practices as relational acts and ruminating on our ways of being in the academy as a/r/tographers, we explore the liminal spaces between the use of a/r/tography as practice‐based research and the use of ethnographic techniques, as qualitative research, and consider how shifting amid these realms can re/shape research in new and innovative ways.

This article argues the potential for a/r/tographic inquiry within sport and exercise research contexts, and outlines how a Relational Art Inquiry Tool (RAIT) was developed to support non-Arts background participants to enact a/r/ tography. Prior to this investigation, a/r/t/ ography methodology has been primarily used within social science and Arts contexts, with qualitative sport and exercise researchers yet to employ the approach. Due to the embodied ways of knowingand evocative potential integral to a/r/tographic research, this investigation sought to devise a set of guiding tools that could be used to support researchers and participants from non-Arts backgrounds to engage in and with a/r/tography. This was done as a way of assisting them to see and find ways to visually articulate complexity, uncertainty and potential 'unseens' occurring within storied accounts. Development of theRAIT tool is informed by a diverse range of theory and ideas underpinning a/r/tography methodology (Irwin, 2004), Gallas' elements of inquiry (2011) and Hetland's Studio Habits of Mind (2013). Inembracing the potential for a/r/tography within a sport and exercise research context, this article illustrates how the RAIT tool was developed and then trialed to cultivate transformative understandings and interpretation of swimming culture through a process of relational and creative becoming.

In this paper I explore the connection between a/r/tography and poetic inquiry, and how together they cultivate multiple ways of understanding. I further claim that classroom situations are most provocative of thoughtfulness and critical consciousness when each student participates in the classroom conversation from his or her lived situations. While difficult, teachers who can facilitate rich interchanges of dialogue within a plurality of voices are genuinely creating communities of difference and thus imagining real possibilities for social change.

Curriculum integration often appears complex and when this happens those who are involved with providing professional development or teacher education may be inclined to promote simplistic or solution-oriented approaches to facilitate integration. Many variants of a problem-solution model exist, and programs that encourage teachers to identify a few difficulties and then strategize possible ways to remove those difficulties more than likely minimize the very benefits of an integrative program. In contrast to this, we propose a conceptualization of curriculum integration that is rhizomatic.

Supporting and extending the research that integrative arts practices lead to imaginative, flexible, and embodied pedagogical praxis, a rhizomatic integration of the arts values complicated and disruptive possibilities that enliven the imagination toward more socially just ways of living and learning. Integration, when understood as rhizomatic, will enable teachers to better respond to the everyday multiplicity of surprises that are part of their ever-changing world.

This another a/r/tography inquiry from the A/r/tography Research Group at The University of British Columbia.

This paper reflects on a developed framework, which has been examined in two research projects, associated with engaging participants to negotiating their practice in a community of a/r/tography. One was worked with students and teachers from both university and primary schools, and the other has invited junior high schoolteachers joined in to co-work with the university research team. Grounded on the concepts of a/r/tography, the research design of both projects engaged qualitative methodologies, and not only examined the implement of arts-intergradation teaching method and also centered on exploring the relationships among others, between self-concepts. Data analysis initially indicates that in the initial period primary schoolteachers might merely observe the activities and share their observation of students' changes. By working with university arts students and educators, schoolteachers not only provide basic information of primary school students, but also gradually give specific pedagogical suggestions or proposal possible activities in related to arts-intergradation teaching method. On the other hand, working with primary schoolteachers and primary students university arts students were encouraged to reflect on their own experiences of art learning and that of teaching. As a result, participants are assumed proactive and actively undertaking leadership roles in addressing pedagogical ideas and reflections. Innovations for teaching are an outcome of both two projects. Findings suggest applying community of a/r/tography in the program for teacher professional development or the educational activities would stimulate teachers' attitudes towards change in practice, and enhanced their motivations in shifting their roles in-between artist/researcher/teacher in the inter-subject community.

Vivimos las imágenes que fabricamos y muchas de ellas son vídeo. El vídeo forma parte de nuestro concepto del mundo porque registra sus acontecimientos y es el germen de sus narrativas. La imagen en movimiento es información, documentación y sobretodo una forma de elaborar conceptos, de pensar con imágenes: Como educadores debemos de aprender a pensar y trabajar con ellas. El Caso, es un proyecto de investigación-acción articulado a partir de una estructura compleja que integra varios planos narrativos y que ponen de relieve la existencia de una ‘continuarración’ en los proceso de indagación basados en imágenes audiovisuales. Esta experiencia se desarrolla dentro un programa formativo que trata con amplitud las distintas posibilidades de una didáctica audiovisual dentro de la enseñanza artística y parte de la experimentación directa con el medio como el contexto más apropiado para su aprendizaje. Por lo tanto, este artículo presenta no solo las conclusiones de la experiencia, también los entornos mediáticos donde se muestran los resultados desarrollados por el alumnado asistente. Una de las cuestiones más relevantes, desde el punto de vista metodológico, de este proyecto educativo basado en la investigación-creación audiovisual, es el uso de la perspectiva A/R/Tográfica como enfoque desde el cual estructurar el conjunto de interrelaciones que funcionarán como germen en la dinámica indagativo-creativa. La Pesquisa, término-clave con el que se identificó el proyecto entre los asistentes, planteaba precisamente como establecer este juego de relaciones entre todas las visiones del proceso y multiplicar de esta forma todos los valores de las distintas indagaciones de todos los agentes implicados, diversificando las distintas interconexiones que tienen lugar en el aprendizaje audiovisual. Nos situamos, por tanto, ante una experiencia educativa en la que se experimentará como crear e investigar a través del vídeo más allá del propio medio, tratando todas las cuestiones de su lenguaje que lo convierten en una de las formas más relevantes y con más influencia del pensamiento actual.

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Live images that we manufacture, and many of them are video. The video is part of our conception of the world because it registers its events and is the germ of their narratives. The moving image is information, documentation, and above all a way of developing concepts, thinking with images: as educators must learn to think and work with them. The case is an action research project articulated from a complex structure that integrates several narrative levels and which highlight the existence of a ‘continuarracion’ in process of inquiry based on Visual images. This experience takes place within a training program that is broadly the various possibilities of an audiovisual teaching in artistic teaching and based on direct experimentation with the medium as the most appropriate to their learning context. Therefore, this article presents not only the conclusions of the experience, also environments media showing the results developed by Assistant students. One of the most relevant issues, from the methodological point of view, of this based on the audiovisual artistic educational project, is the use of A/R/Tography perspective as approach from which structure the set of interrelations that function as germ in the indagativo-creativa dynamics. Research, termino-clave that the project among participants, identified raised precisely as set this set of relationships between all views of the process and multiply this way all values of the different investigations of all the agents involved, diversifying the various interconnections that take place in the audio-visual learning. We are, therefore, to an educational experience that will create and investigate through the video beyond the own environment, treating all its language issues that make it one of the most important ways and with more influence in current thinking.

AbstrAct This article examines factors identified as influencing teachers' capacity to maintain arts practice upon beginning teaching. In exploring the storied experiences of three artists and teachers, a discussion unfolds to examine the ways that artist and teaching practices interact, and the implications this interaction has upon the beginning teachers' transition into professional practice. A hybridized methodology has been adopted, where methods integral to autoethnography, narrative inquiry and a/r/tography are drawn together to generate a series of intricately layered stories of becoming artists and teachers. From these storied insights, the factors that emerged as critical to becoming are the beginning teachers' perceptions and management of time, and their capacity to appropriately prioritize art and teaching practices over each other. The implications of these factors indicate a need for beginning teachers to better understand and acclimatize to the demands of becoming a teacher before attempting to resume high levels of artistic output.