Arts Education

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. Students were writing home asking parents to dig out their pencils and painting sets that they had at school, as there was now an urgent need to express an idea in a creative way. On this point, and towards a student-centred introduction to this book, I invite the reader to turn to the last chapter (chpt 40) Student Voices: living and learning through art and the outdoors which provides a sense of the endeavour, commitment and learning experiences from a selection of student authors in this volume.

Art therapy, as a means of self-expression and healing, is used in a variety of clinical and rehabilitation settings. Here, it is tested with a population judged to be involved in terrorism-related activities. This paper presents an extensive review of the art therapy program at Mohammed Bin Nayef Center for Counseling and Care, Riyadh, Saudi Arabia. The objective of this study is to showcase the use of art therapy in the care and rehabilitation of ex-jihadists, with suggestions for best practices. This paper is the first description in the literature of the efforts of the Saudi government to explore the use of art therapy in counterterrorism. Art therapy outcomes on a population incarcerated for terrorist activities are presented alongside treatment and reconstruction of extreme ideology through art production. We conclude that a successful art therapy program is required within the overall approach to counterterrorism. Further, a strong understanding of the cultural backgrounds of the subjects, along with recommendations for relying upon specific artistic components of the therapeutic process are clearly indicated. According to government sources, together with the other programs offered to ex-jihadists, the art therapy program discussed here, which has been in operation since 2007, has achieved an 86.17% success rate, with (as of January 2015) a 13.83% recidivism rate. This is a strong indication that art therapy is an efficacious approach in counterterrorism.

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.

Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji.

Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność?

Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.

Arts-based practices can help individuals to stay centered, aligned, present and alert to the moment. In therapies that utilize arts-based practices, the art making itself might be viewed as a vehicle to help create a therapeutic alliance or a therapeutic attunement.

How do we socially negotiate what is seen or not seen in an institution? This dissertation posits the idea that educational institutions reproduce social exclusions and inequalities both through verbal exchanges and through practices of looking; it aims to apply some theoretical frameworks from the field of visual studies to the study of discourse and subjectivity in the context of higher education. The first part of this dissertation summarizes some of the general currents within the field of sociology of education on the study of the “hidden curriculum,” and, drawing on Foucault’s understanding of disciplinary power, proposes a theoretical approach based in three axes of analysis – i.e., the technical capacities, the systems of communication, and the relationships of power. Following this approach, the second part of this dissertation presents a case study at the University of Guelph. Autoethnographic methods, visual methodologies and qualitative interviews are combined to collect data that are examined according to the defined axes of analysis. Different pedagogical approaches that draw from art education and critical theory are offered to address the non-verbal processes identified within each axis of analysis: “invisible pedagogies” deal with the discursive aspects of the pedagogical settings; “pedagogies of touch” address the role of affect and the body in the reproduction of discourse; and “performative pedagogies” are used to address power relations and to allow for multiple subject-positions in the student-teacher relationship. All of these approaches draw on concepts currently being used in curriculum studies, the aim of this dissertation being to contribute to the development of critical perspectives in relation to the role of the visual in educational research.

STEAM is a developing educational model of how the traditional academic subjects (silos) of science, technology, engineering, arts and mathematics can be structured into a framework by which to plan integrative curricula. It includes review s of the epistemologies of general and discipline specific developments in conjunction with the individual discipline’s standards, as related to integrative, or holistic, education. Investigating these educational relationships to one another is currently being explored as a way to find the commons of education in relation to pedagogy and language. Along with the development of commons is the need for the disciplines to work with one another in a structure that is able to be adaptable to the many variations of discipline combinations that make up different directions that people in society pursue. This paper is an introduction to concepts on the development of such a structure.

This book contributes to the field of arts-based methods in education with general theoretical perspectives and original cases, reviewing the journey of learning in connection to the arts, and the contribution of the arts to societies from an educational perspective.

This article discusses an action research project in which critical
Disability Studies pedagogy was integrated into two Art Education courses for preservice art teachers. Research participants investigated Disability Studies literature and disability visual culture and designed lesson plans, teacher art examples, and artist’s statements that confronted ableism. Attitudinal surveys were administered before and after
the project, and several participants were interviewed. First, the project is described; then, student outcomes are examined to illuminate Fiona Campbell’s research on ableism, specifically the two core elements that are central to regimes of ableism: the notion of the normative and normate individual and the enforcement of an able/not-able constitutional divide. Data suggest that preservice art teachers are ready and willing to engage Disability Studies pedagogy in pK–12 classrooms; as
such, this study anticipates a Disability Studies Art Education agenda and exemplifies how Art Education can inform Disability Studies in expanding beyond academia.

This theoretical article focuses on reasonable accommodation in education by offering conceptual tools that could prove beneficial in resolving policy concerns for equity in music education. Providing reasonable accommodation entails making necessary and appropriate modifications that may include depending on the circumstances, physical or interaction-related changes. From the perspective of teacher autonomy, this article focuses on two aspects of reasonable accommodation: (a) its definition and (b) its implications for music education practice. Responsibility for reasonable accommodation is considered in the context of Finnish music education through three illustrations that address matters such as music notation and instrument selection. We conclude that the concept of reasonable accommodation offers students and teachers tools to prevent disadvantageous musical and pedagogical conventions from being enforced at the level of the local curriculum and through teachers' actions, potentially resulting in inequities and discrimination.

The present study employed population-level educational records from 4 public school student cohorts (n ϭ 112,916; Grades 7-12) in British Columbia (Canada) to examine relationships between music education (any participation, type of participation, music achievement, and engagement level) and mathematics and science achievement in Grade 10 as well as English achievement in Grades 10 and 12, while controlling for language/cultural background, Grade 7 academic achievement, and neighborhood socioeconomic status. Music participation was related to higher scores on all 4 subjects and these relationships were stronger for instrumental music than vocal music (Cohen's d range: .28 to .44 [small-medium effect sizes] and .05 to .13 [null-small effect sizes]). School music achievement positively related to scores on all subjects; such relationships were stronger for achievement in instrumental music compared with vocal music. Higher levels of music engagement (number of courses) was related to higher exam scores on all subjects; this pattern was more pronounced for very high engagement in instrumental music (d range: .37 to .55; medium effect sizes) compared with vocal music (d range: .11 to .26; small effect sizes). The effect sizes of these group differences are greater than the effect sizes corresponding to average annual gains of students' academic achievement during high school-in other words, highly engaged instrumental music students were, on average, academically over 1 year ahead of their peers. The findings suggest that multiyear engagement in music, especially instrumental music, may benefit high school academic achievement. Findings and implications are discussed within the broader interdisciplinary literature on music learning. Educational Impact and Implications Statement This large-scale study identified evidence of positive relationships between school music participation and high school exam scores in English, mathematics, and science using population-level educational records for over 110,000 students in British Columbia, Canada. Participation in school music (especially instrumental music) was related to higher exam scores, and students with higher levels of school music engagement had higher exam scores. The positive relationships between music engagement and academic achievement were independent of students' previous (Grade 7) achievement, sex, cultural background, and neighborhood socioeconomic status, and were of considerable magnitude: The group differences observed in our study were greater than average annual gains in academic achievement during high school. In other words, students highly engaged in music were, on average, academically over 1 year ahead of the peers not engaged in school music. In light of this study (the largest of its kind to date), as well as supporting evidence suggesting music learning in childhood may foster competencies (e.g., executive functioning) that support academic achievement, educators may consider the potential positive influence of school music on students' high school achievement.

Nesta pesquisa, em curso, constrói-se um argumento teórico e discorre-se sobre ações de mediação cultural que possibilitem a construção da dramaturgia do espectador das artes da cena. Vislumbram-se proposições metodológicas, processos emancipatórios que podem favorecer a construção de discursos narrativos arrazoados e sensíveis por parte do espectador contando com a presença do Mediador Cultural em ambiente não formal de educação. Cabendo a este compartilhar, inclusive, “chaves deconhecimento” como ferramentas que possibilitem provocar no espectador o que Aristóteles dizia se tratar de uma característica inata nos seres humanos,
“a tendência ao saber”.

In the coming decades, the platforms and formalisms scholars employ to display, transform, and transmit information will continue to evolve. Innovations in information management did not stop with the codex. They will not stop with the PC. The purpose of this paper is to explore a specific implication that new paradigms of computing—especially those pertaining to 3D objects and 3D environments—will present for the discipline of history. Put simply, this study suggests historians will need to re‐think the aesthetics of their discipline. Drawing on the experience of the<it> 3D Virtual Buildings Project</it>, it suggests there are two possibilities historians can and ought to explore. The first is to test the efficacy of 3D objects as cognitive tools, tools designed to assist student realization that historical works are models, models that must be distinguished from the objects they represent. The second is to explore the use of 3D‐immersive environments as platforms to display research findings. If Virtual Reality is to emerge as a viable medium for the historical discipline, scholars will need to transform their practice. Assumptions regarding the constitution of narrative, authorship and the scholarly work will all require modification.

This article stems from a story of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique period of change in neighboring social science disciplines, a turn of the tide that involves the embrace of narrative methods to rewrite prevailing working models and paradigms of social science practice. Here at the start of the 21st century, art education continues to be practiced in the thrall of a scientific paradigm that misunderstands the greater potential of the arts in education, often imposing a ceiling ill-fitted for arts praxis, arts-based research, or arts pedagogy. The author argues that art education is also at a turn of the tide and surmises some of the unexpected outcomes when new and ex-centric stories of learning and a “pedagogy of possibility” are more thoroughly explored, allowing practitioners to fully rethink an art education practice without taxonomic ceilings and within the shelter of the unexplored labyrinth.

TVÅ SIDOR AV SAMMA MYNT? Tabell 2. Söktryck efter namn på folkhögskolan, Ht 2009 Folk-Antal Antal N Profiler Söktryck St. d högskola sökande platser(medelvärden) Fridhem 450 25 1 Jazz 18, 0 Skurup 340 20 1 Jazz 17, 0 Billströmska 230 20 1 Blandad 11.5 Furuboda ...

PhD Dissertation
The primary objective of this dissertation is to disentangle and arrange a number of issues particular to the sphere of activity designated as artistic research. A bimodal conception of artistic research is proposed as a framework by which confusions in the discourse and in
applications of artistic research may be avoided or resolved.
Mode one indicates that artistic creation is in most instances ipso facto artistic research. A philosophical substantiation is offered for the claim. In brief, a work of art is considered to be a state of affairs, to use Wittgenstein’s terminology, of the artistic kind. The creation of a state of
affairs of the artistic kind and the formulation of propositional belief about that state of affairs are claimed to be necessary and jointly sufficient conditions for artistic research to occur. A state of affairs of the artistic kind provides the artistic component of artistic research; however, the
state of affairs in and of itself does not normally convey propositional belief, and therefore does not satisfy the condition of research in artistic research. For artistic research to take place, propositional belief about the state of affairs of the artistic kind must be formulated. The site of
the initiation of the research component of artistic research is thus located. In normal artistic practices, the class of activities commonly seen as art and the class of activities commonly seen as research exhibit significant class overlap and are inseparably intertwined in the vast majority
of artistic creations. Mode two indicates delimited forms of artistic research. Mode two artistic research does
not accept that the conditions of mode one are sufficient for artistic research and subsequently requires further epistemic justification or criteria. The further justification or criteria delimits the
form of artistic research, usually within particular contexts for particular purposes. Clarity in the discourse of artistic research is promoted when the modes are clearly differentiated, when their purposes are stated, and when the underlying presuppositions held by their proponents are revealed.

Looking on, in, and under scarred skin, problematizes understandings of memory, subjectivity, and self/other relations. Using arts-based inquiry, I investigate my scarred life stories while connecting it to feminist perspectives that expose social constructs of gendered scarred skin. As I peel back the complex surfaces, I highlight my female voice and personal experiences to explore the layered meanings in my scars. Questioning assumptions and understandings of scarred skin in relation to self and others, my goal is
to stimulate new ways to view, understand, and engage with skin scars.

e purpose of this study was to survey students on college (university) campuses to generate knowl- edge about music participation and nonparticipation by nonmajors in order to better inform school music practices. Volunteer research assistants (N = 24), located at multiple sites across the United States and beyond, assisted with the data-gathering process, which involved a short on-the-street survey of passersby. In addition to ascertaining participation and nonparticipation in music and possible relationships with selected variables (academic year, academic major, race/ethnicity, gender, musical instrument), the survey sought responses aimed at discerning reasons for participation and nonparticipation, and the likelihood of future participation. Results revealed a reported rate of participation in music ensembles of 14.6%, with an attrition rate of 75–80% for those citing high school music involvement.  ere were few signi cant relationships with selected variables, suggesting that college music participation is likely a phenomenon not reducible to isolated variables.  e most frequently cited reason for nonparticipation among those with precollege experience was “I don’t have the time.”  e highest-rated item among college music participants was “I love my instrument and/or I love singing.” Reported likelihood of future participation was signi cantly higher for cur- rent participants than for nonparticipants with precollege experience, but was not especially strong overall, raising the question of whether college music participation is viewed as a transition activity or as an indicator of lifelong participation in music.

Welche Einflüsse auf das Rezipieren von Kunstwerken wohnen dem Akt des Sprechens inne? Welche Entscheidungen werden hier wie von den Sprechenden getroffen?

Die Seminararbeit «On Translating the Photographic» widmet sich dem Angebot der «Öffentlichen Führungen» als wesentlicher Bestandteil des Vermittlungsprogramms am Fotomuseum Winterthur. Vertieft wird dabei die Sprache als Werkzeug potentieller Wissensproduktion auf ihre vermittlungsbasierende Funktion hin analysiert und in einen sprachwissenschaftlichen Kontext gestellt. Darüber hinaus wird der Leitfrage nachgegangen, inwiefern der Sprache, als übersetzendes Werkzeug zwischen Rezipient_in und Exponat, ein vermittelndes Potenzial innewohnt.

Die Seminararbeit wurde im Zuge die Lehrveranstaltung «Vermittlung in Ausstellungen I» unter der Leitung von Dr. Maren Ziese im Rahmen des Studiengangs MA Art Education Curatorial Studies  im Herbstsemester 2018/19 an der Zürcher Hochschule der Künste eingereicht.

Als het gaat om agenderen van ‘ondernemerschap’ binnen het onderwijs
heeft het kunstonderwijs een extra uitdaging. ‘Ondernemerschap’
is niet alleen één van de acht competenties van het maatschappij brede
‘Life Long Learning’-concept. ‘Ondernemerschap’ is in het kunstenveld
ook geïntroduceerd als oplossing voor financieringsvraagstukken in deze
sector en om de relatief hoge werkloosheid en het lage inkomensniveau
onder kunstenaars te bestrijden. Ook ArtEZ heeft ‘ondernemerschap’ tot
verplicht onderdeel van het curriculum van alle 31 bacheloropleidingen
gemaakt. Het Art Business Centre (ABC) van ArtEZ heeft in 2017 de
stand van zaken van het ‘onderwijs over ondernemerschap’ onder de 31
bacheloropleidingen van ArtEZ geïnventariseerd. Hiervoor hebben we
alle hoofden van de opleidingen geïnterviewd. De vragen zijn zowel
kwalitatief als kwantitatief gesteld. Onze inventarisatie hebben we in
de context van bestaande literatuur over ondernemerschapsonderwijs
geplaatst. In dit artikel bespreken we de resultaten en onze inzichten.

Dynamic learning environments in the arts that nurture all students' capacities for deep meaning, synthesis and connection-making have the best chance of standing in the gap toward educational justice. New paradigms for teaching and learning are needed that elevate all students' capacities—not just the select few who excel in narrow subsets of intelligence. This article argues for a more socially just and equitable education that can be realized through and within cultures of thinking that develop students' balanced intelligence. A mixed model, research study conducted in visual art classrooms is highlighted, reporting the positive effect of balanced, learner-centered pedagogy and environments on the development of students' quality thinking and dispositions. More learner-centered classrooms also positively affected students' self-beliefs. This study resulted in new assessments for measuring students' balanced thinking skills

Communities@Work provides a broad suite of quality community programs of social value and practical benefit. Our vision is for a resilient and socially inclusive community that cares for the well-being of all. Communities@Work's Centre of Professional Learning and Education provides quality professional learning and support for the education and care sector.

This article presents a selective review of the literature on
cross-cultural art studies, with the aim of identifying their
commonalities. The article includes a specific cross-cultural
case study, the Art Lunch Project, which the author attended
as a representative of Turkey, that aims to exchange practical
teaching experiences. The participants come from nine
countries across Europe and Asia. It is an ongoing project
in which art or homeroom teachers in schools interpret
the common theme of “an art lunch,” in collaboration
with university-based researchers in art education. The
project involves making two- and three-dimensional artistic
representations of food using recycled materials. Work
completed by children is uploaded to a website for mutual
viewing by participating teachers and children. The reasons
for selecting this theme were that curricula organized around
the fundamental human need for food are likely to have
universal appeal, and the results would thus reflect national
cultural differences (Fukumoto, 2007).

This visually appealing resource presents milestones in children’s artistic development in early adolescence using youth-centered behaviors that include: “I am thinking” (cognitive development). “I am growing” (physical development).  “I am feeling” (social/emotional development).  “I am creating” (artistic development). Its outline format is derived by research on children’s artistic development theories and best practices presented in the textbook Teaching and Learning in Art Education: Cultivating Students' Potential from Pre-K through High School (Routledge, ISBN# 9781138549326).

The Framing Student Success: Connecting Rigorous Visual Arts, Math and LiteracyLearning experimental demonstration project was designed to develop and test an instructional program integrating high-quality, standards-based instruction in the visual arts, math, and literacy. Developed and implemented by arts-in-education organization Studio in a School (STUDIO), in partnership with the New York City Department of Education, the Framing Student Success curriculum was designed by experienced professional artist instructors collaborating with schoolbased visual arts, math, and literacy specialists and classroom teachers. The Framing Student Success curriculum units were designed to make explicit connections between subjects (visual arts and ELA or math), while maintaining the integrity, depth and rigor of instruction in both subject areas. While students were receiving arts-integrated instruction during each of the twelve six-week units, classroom teachers and arts specialists were rece...

The purpose of this study is to critique the existing approaches to art education with an emphasis on Deleuze’s value perspective. The research method is critical analysis. There are various approaches to art education that, according to Deleuze’s approach, have been criticized, including the traditional approach, the production-oriented approach, the approach of receiving emotion and meaning, the approach of cultivating superior intellectual origins, the aesthetic knowledge approach, and the discipline art education approach. Based on Deleuze’s approach and his activist vision, there are criticisms of each of these approaches to art education. The results of the study indicate that Deleuze’s attitude is an intermediate and comprehensive approach to art education. Deleuze relates art education to moral virtues and offers a rhizomatic and transversal approach to art education. The results indicate that Deleuze’s value-oriented approach has important points for art education, such as changing the media role of art by relying on the transition from representation to representation and the transition from art as a conduit and transmission of facts to influence. It is investing and activism.

As many art instructional kits and sets available for purchase purport to teach art skills, it is important to discern what what types of kits and sets are available and what teaching methods and philosophy/pedagogy is used. In order to understand the historical foundations of currently available offerings- and thus, why consumer-oriented art instructional kits are important for Art Educators to study- requires an understanding of their roots in the beginnings of Art Education in the United States. This paper will examine the foundations of contemporary consumer art instructional sets and identify areas for further research.

This paper reviews the efforts of the municipality of Zaragoza to promote an innovative heritage education project. This project adds value to the archaeological ruins discovered a few years ago (Teatro Romano, Public Baths) and other urban spaces musealized (Forum Museum, Museo del Puerto Fluvial). Heritage education is based on a city tour that culminates in the splendid Museo Pablo Gargallo. In this proposal we are interested in the part relating to education in museums. But we also found important to have integrated different parts of the city in a real urban route. This route connects different places imbued with tradition, art, history and memory. To understand and analyze this reality we have relied on key methodological case studies, using interviews and surveys of the main groups involved: teachers, technical and cultural mediators. We have also observed numerous live group visits. Thanks to this formula (which includes several urban areas) is achieved increasing the participation of many groups, especially school visits and families.