Arts in Education

Pendidikan seni sebagai sebuah disiplin ilmu,
meniscayakan posisinya dalam peta ilmu pengetahuan
sebagai bidang yang dapat dikaji dari aspek ontologis,
epistemolgis, dan aksiologis. Sebagai ilmu pengetahuan yang
berada pada rumpun ilmu-ilmu humaniora, secara ontologis,
pendidikan seni mempersoalkan hakikat keberadaan seni
sebagai media pendidikan dengan tujuan untuk membentuk
segi-segi manusia dan kemanusiaan yang memiliki kepekaan
estetik dan kemampuan artistik melalui kegiatan kreatif,
ekspresif, dan apresiatif. Dalam perspektif epistemologis,
pendidikan seni memerlukan suatu strategi dan/atau metode
yang bersifat paradigmatis untuk mewujudkan tujuan tersebut.
Sementara itu, secara aksiologis, tak dapat dinafikan bahwa
melalui pendidikan seni, dapat diperoleh manfaat berupa
nilai-nilai yang berorientasi pada upaya memanusiakan
manusia seutuhnya sebagai mahluk yang memiliki kapasitas
kreatif dan kesadaran budaya. Dengan demikian, pendidikan
seni sebagai ilmu pengetahuan, bukanlah sekadar urusan yang
hanya mengusung hal-hal teknis pembelajaran di kelas semata,
tetapi ia perlu dilihat dan dipahami secara holistik pada ranah
filosofis-ideologis, paradigmatis, dan aksiologisnya.
Dalam kerangka itulah, saya melihat dan memahami
buku yang berjudul “Diskursus Pendidikan Seni Hari Ini” yang
ditulis oleh para mahasiswa Program Doktor Pendidikan Seni
Pascasarjana Universitas Negeri Semarang angkatan tahun
2019. Tulisan dalam buku ini sesungguhnya hasil kreativitas
akademik mahasiswa yang bersumber dari tugas pembuatan
makalah dalam “Mata Kuliah Isu dan Paradigma dalam
Pendidikan Seni”. Judul dan uraian yang dipaparkan oleh
setiap penulis dalam buku ini, sekurang-kurangnya berisi
gagasan-gagasan yang berorientasi pada isu-isu yang bersifat
filosofis-ideologis, paradigmatis, dan aksiologis tentang
pendidikan seni. Hal ini, tentu, relevan dengan kapasitasnya
sebagai mahasiswa calon doktor pendidikan seni.

We are junior, tenure-line faculty at a research-intensive institution in the Southwestern United States. Most of our responsibilities lie with mentoring and advising graduate students who are practicing teachers in local schools. As such, one of our major goals is to bring together our research interests in New Literacies (New London Group, 1996) into our work as mentors and advisors. We determined that we would benefit from a multimodal method for supporting our thinking together with our teachers, together with each other, and separately. By multimodal, we mean that we were utilizing multiple modes, including image, print text, or spatial arrangement (Jewitt & Kress, 2003) across our work. Even images themselves are multimodal (Duncum, 2014), specifically taking mode of color and spatiality into account (Jewitt and Kress; Kress & van Leeuwen, 2001). Among the strategies we came to use with our students is collage (combining images, words, and other symbols and icons purposely on a page). The purpose of this study was to examine our uses of collage as a multimodal method of supporting graduate student teachers and to reflect on and improve our practice as teacher educators (LaBoskey, 2004). In our state, there are large populations of English learners with Hispanic/Latino and/or Native American/American Indian heritage who need intensive language and literacy support. Teachers in our state are among the lowest paid nationwide making turnover an issue. Graduation rates, although they are improving, are low. Thus, it is critical for our state to improve literacy instruction, but given our context, the work is also challenging. Our literacy program is part of an interdisciplinary department that mostly awards graduate degrees and offers some undergraduate service courses. We want our students who are teaching in schools to see a graduate degree as a way to feel sustained and empowered in their work with children. Collage became one avenue of several we tinkered with for doing and reflecting on our work in this context.

[Punitive] perspectives on artistic education and aesthetic knowing in classrooms void of creative expression. And how to get it back.
(A critique and response to the question:
What impact would art education have on creative cognition in both students’ ability to problem solve and on teachers’ ability to teach with passion as co-learners?)

This article examines the unique educational approach of the Waldorf (Steiner) school, which is based upon integrating the arts in educational processes. The article first presents the theoretical and practical aspects of the fundamental approach of Rudolf Steiner, founder of this educational movement. The article then describes the practical implementation of this approach together with different aspects of integrating the arts in the Waldorf school pedagogy. Lastly, the field of music is brought as a case example for artistic educational work across the first through twelfth grades. The question of reciprocal relations between art and education is examined in light of this unique educational perspective. Questions pertaining to the influence of these relations upon Waldorf school graduates are raised in the article’s conclusion.

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to the mission of our colleges and universities?

Arts, Pedagogy and Cultural Resistance brings cultural studies’ perspectives to bear on Arts practices. Each contribution synthesizes creative approaches to philosophy and new materialist understanding of practice to show how human-nonhuman interaction at the core of Arts practice is a critical post human pedagogy. Across fine art, dance, gallery education, film and philosophy, the book contends that certain kinds of Arts practice can be a critical pedagogy in which tactical engagements with community, space, place and materiality become means of not only disrupting dominant discourse but also of making new discourses come to matter. It demonstrates how embodied, located acts of making can materially disrupt cultural hegemony and suggest different ways the world might materialize. It argues that the practice of Arts making is a post human cultural pedagogy in which people become part of a broader assemblage of matter, and all aspects of this network are solidified in objects or processes that are themselves pedagogical. In doing so the book offers a fresh and theoretically engaged perspective on arts as pedagogy.

Latest work within the Learning Through the Arts field included a variety of visual and performing arts activities such as drama, music, dance, film, etc. Rarely do studies focus on mime as a teaching and learning tool. In this paper, the art of mime is explored through a hands-on workshop whereby participants go through the various steps of a mime activity. As such, they work in small groups to design, perform, and finally reflect on meaning and meaning production. The activity is then videotaped and features of the use of the digital camera are highlighted. Thus, the paper explicates the salient features of the mime and the use of the digital camera as educational tools.

The term Arteduca is a neologism that results from the combination of the terms art and education. This thesis proposes a methodological approach to the Arteduca: Art, Education and Contemporary Technologies specialization course, that contributes to the improvement for the field of art and technology online education. We denominate, in the thesis text, this new modality of teaching and learning as cybereducation in art. The methodological foundation is based on Humberto Maturana and Francisco Varela’s autopoietic theory; in the principles of the transdisciplinar approach; in the complexity theory, presented by Edgar Morin; in the Triangular Approach, systematized by Ana Mae Barbosa and enriched with aesthetic theories applied to the image interpretation and synthesized by Terezinha Losada; in the construcionism by Seymour Papert; as well as in the ethnography applied to teaching and learning projects, reasoned in theorists from the Cultural Antropology field and in experiments developed in partnership with Leda Guimarães, in the Arteduca and in the degree in Visual Arts from the Pró-licenciatura program. This thesis is a result of the practical and theoretical research and presents consistent results of the work initiated in 2003.

The future of the arts in higher education--writ large--requires the examination, analysis, and synthesization of many central and peripheral issues if arts education is to be successfully sustained. Present-day and future leadership must not rely upon traditional and legacy-grounded knowledge in order to grow and improve our creative disciplines. This report is just the first of many that outlines certain issues in axiomatic and easily digestible form. Vol.1 focuses on the visual arts.

Οι τέχνες δίνουν τη δυνατότητα στο μαθητή και τη μαθήτρια να εκφραστεί ελεύθερα και παράλληλα να βιώσει νέες εμπειρίες. Επομένως η προσέγγιση ενός γνωστικού αντικειμένου μέσω των τεχνών επιτρέπει στους μαθητές μία βιωματική μαθησιακή διαδικασία, ενεργητική κι όχι παθητική, που καταλήγει σε μοναδική εμπειρία για εκείνους αλλά και για τους εμπλεκόμενους διδάσκοντες. Με αυτή την αφετηρία και με δεδομένη την υποχρέωση κάθε σχολικής μονάδας να διοργανώσει μία εκδήλωση ιστορικής μνήμης για την εθνική γιορτή της 25ης Μαρτίου, μία ομάδα εκπαιδευτικών των Ραλλείων Πειραματικών Δημοτικών Σχολείων Πειραιά προχώρησε το σχολικό έτος 2014-15 στην ανάπτυξη ενός πλέγματος συνδεδεμένων διδακτικών δράσεων στα μαθήματα της ιστορίας, της Θεατρικής Αγωγής, των Εικαστικών, της Μουσικής και της Φυσικής Αγωγής με άξονα το πρόγραμμα πολιτιστικών θεμάτων «Ίχνη ιστορίας: γνωριμία με το ντοκιμαντέρ». Στόχος του προγράμματος δεν ήταν μόνο η εμπλοκή των μαθητών σε μία καινοτόμο δημιουργική διαδικασία αλλά και συνάμα η άμβλυνση των δυσκολιών που προκύπτουν από τη διδασκαλία ενός τόσο μείζονος ιστορικού σταθμού της ελληνικής ιστορίας, που όπως κατέδειξε πρόσφατη έρευνα θεωρείται ένα από τα δυσκολότερα διδακτικά αντικείμενα του Δημοτικού Σχολείου. Το πρόγραμμα και το φιλμ που δημιουργήθηκε μέσα από αυτό συνιστούν ένα παράδειγμα του περιεχομένου του Νέου Σχολείου όπου το Αναλυτικό Πρόγραμμα μπορεί να υλοποιείται μέσα από καινοτόμες, ψηφιακές, βιωματικές και δημιουργικές δραστηριότητες, διδακτικά και μαθησιακά πλούσιες για όλους τους εμπλεκόμενους.

This chapter makes a case for the integration of the puppet theater in the foreign language curriculum grounded in an acknowledgment of the art’s cathartic effect, its ability to engage and develop multiple intelligences and various skills, and the cultural value and uniqueness of its different traditional forms. The chapter begins with an examination of the literature currently available in support of this creative approach, identifying recurring themes and issues, and evaluating educators’ reflections vis-à-vis certain historic and cultural dynamics and influences. While the application of puppetry in education has almost always been considered with regards to primary and secondary school levels of teaching, a number of puppet theater techniques translate remarkably well into higher education, especially when teaching languages whose cultures present strong puppetry traditions, such as Italian. The final section of the chapter addresses the pertinence of puppetry to teacher training and curriculum development, exemplified by the case of Italian, both as a tool in the instructor’s lesson and in student-led productions.

How music and language might be used in tandem to remediate at-risk student performance, focus, attitude, attendance through integrated instruction.  Exploring how applied linguistic practice and child development standards that link practical instruction, academics and student excitement to resiliency and joyful learning in core studies.

(EN summary in the file)
Knyga skirta dalyvavimo šiuolaikiniame mene idėjai – kad patys žmonės, jų santykiai ir veiksmai, o ne reprezentacijos gali būti tiesioginė menininko darbo medžiaga ir kūrinys. Dalyvaujamieji projektai labai nutolsta nuo vizualiojo meno ar juolab dailės įprasto apibrėžimo – ir vis dėlto puikiai jaučiasi ir meno institucijoje, ir socialinėje sferoje. Knygoje apnuoginamas šis dvigubas dalyvavimo praktikų gyvenimas: narstomi meno istorikų ir praktikų disputai, analizuojama, kuo skiriasi bendražygiai, bendrininkai ir bendrautojai ir kas sieja dalyvaujamąjį meną bei postfordistinę produkciją, svarstoma, kodėl šiuolaikiniam menininkui tokia svarbi kalba ir kaip gandai gali būti dokumentacijos forma.
Čia nagrinėjami Artūro Railos, Algio Lankelio, Dariaus Mikšio, Nomedos ir Gedimino Urbonų, Vitalijaus Červiakovo, Andriaus Rugio, Mirjam Wirz, Redo Diržio, Kristinos Inčiūraitės ir kitų menininkų projektai, kuriuos jungianti laiko linija tęsiasi per tris pastaruosius dešimtmečius.

Στο πλαίσιο της ξενόγλωσσης διδασκαλίας οι νέες τεχνολογίες έχουν μετατρέψει την παραδοσιακή διδασκαλία σε μια εμπειρία όπου οι μαθητές χρησιμοποιούν τα ποικίλα ψηφιακά εργαλεία για τη δημιουργία αυθεντικών πολυτροπικών κειμένων. Σκοπός, ωστόσο, δεν είναι τα νέα ψηφιακά περιβάλλοντα που έχουν διαμορφωθεί να αντικαταστήσουν τις βασικές γνωστικές δεξιότητες των μαθητών αλλά να προωθούν τις βασικές αρχές της ανθρωπιστικής παιδείας σε συνδυασμό με την ψηφιακή τεχνολογία. Η συνδυαστική αυτή προσέγγιση συμβάλει στην ολιστική αντιμετώπιση της ξενόγλωσσης εκπαίδευσης και προάγει τον πολυγραμματισμό. Στην παρούσα εργασία διερευνώνται τα πολλαπλά οφέλη του ψηφιακού εργαλείου Storybird, στο οποίο βρίσκουν εφαρμογή οι παιδαγωγικές θεωρίες της δημιουργικής γραφής, της ψηφιακής αφήγησης και της συμβολής των Τεχνών στην μαθησιακή διαδικασία επιτρέποντας την επικοινωνία νοημάτων και συναισθημάτων συνδυαστικά. Η δημιουργική γραφή απομπλέκει την ξενόγλωσση διδασκαλία από την παθητική μεταβίβαση εννοιών και κανόνων και την εμπλέκει με τη φαντασία και τη δημιουργικότητα των μαθητών. Η ψηφιακή αφήγηση ενισχύει τη διαδραστικότητα της μάθησης της ξένης γλώσσας και μετατρέπει τη γλώσσα-στόχο σε ένα εργαλείο για την ψηφιακή επικοινωνία. Η εικόνες του Storybird λειτουργούν επικουρικά για τη διασύνδεση της τάξης με την Τέχνη και ενεργοποιούν την αισθητική εμπειρία των μαθητών προσεγγίζοντας μια διάσταση της διαφοροποιημένης διδασκαλίας.

Art is a form of beauty and it needs encouragement to be developed. This Encouragement must come from a wider circle and Jamini Roy took his art works to all classes of people. The name of Jamini Roy shines among the most notable painters of India, especially modern India. He gave a fresh expression to his ideas and thoughts through colours. Jamini Roy, a great artist who changed the concept of Indian modern art.

Higher education, and in particular, initial teacher education, has been significantly transformed through
the introduction of e-learning. However, online teacher education presents particular challenges in the
creative arts, which has traditionally developed student understanding through embodied and collaborative
learning experiences. In this qualitative study, in-depth interviews were conducted with eight
online arts educators in teacher education programs to understand their perspectives and pedagogy in
online arts coursework. Using Engestr€om’s Activity Theory as an analytical lens, the findings highlight
how these academics navigated challenges and opportunities to facilitate authentic, praxis-focused arts
experiences to prepare pre-service teachers for the classroom.

NAGC ARTS NETWORK MISSION (Proposed revisions pending.)

The Arts Network believes artistic expression is a basic and necessary function of healthy and productive individuals, and that the health and productivity of a society is reflective of the degree of artistic expression among its citizens.

The Arts Network is committed to initiating, developing, and implementing strategies and resources that will support interest and abilities in the Visual and Performing Arts. Specifically, the Network will:

> promote the recognition and acceptance of the arts as an essential area of giftedness;

> encourage research in the area of artistic giftedness and talent;

> illuminate the benefits of integrating meaningful arts experiences into the academic curriculum and provide support for practice;

> increase awareness of artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and the psychosocial dimensions associated with educating and caring for artistically gifted and talented individuals; and

> provide practical strategies and resources to foster artistic expression, aesthetic perception, aesthetic valuing, and aesthetic appreciation; and nurture the psychosocial development of artistically gifted and talented individuals.

Editing: Merzili Villanueva & Dr. Kristofer Wiley

Design: Merzili Villanueva

Dans cet article, je situe le paradigme enactif (Varela) au sein du courant émergentiste et je montre ce qui le différencie des approches cognitiviste et connexionniste. L’enaction met en lumière le rôle du corps en action et de la perception dans la cognition et attribue une place primordiale à l’acte de langager tissé avec l’affect dans le développement humain. Je termine par un survol de quelques implications didactiques de ce paradigme pour l’éducation aux langues.

Today, prominent globalization processes set requirements for lifelong learning in different arenas of human activity, which presuppose connectedness, cooperation and partnership on all levels. Dance art and the universal language of dance enable integrative processes and contribute to the development of a student-focused curriculum. By developing creative dance abilities, introducing dance art and the current dance scene and educating a future dance audience, schools contribute to children and youth’s cultural development. Therefore, the national curriculum also emphasizes the importance of dance art, and especially curriculums of schools that have a long-term tradition in nurturing the dance culture. Dance art rounds off children’s education, contributes to a healthy psychophysical development, and fulfils one of the three basic functions of school – transmission of culture. Using knowledge about all the advantages of the universal language of dance, the aim of this paper is to gain insight into dance art and determine its presence in elementary schools by analysing school curriculums. 67 elementary school curriculums of the Osijek-Baranja County have been examined and analysed. The analysis encompassed grades 1 through 8 of elementary school, acknowledging all their specificities and all forms of teaching. Results from a quantitative and qualitative analysis reveal that dance art is represented in many elementary schools, mostly in lower grades, and significantly less in higher grades. Dance art can mostly be found in students’ extracurricular activities, then in activities students participate in outside of school, in school’s cultural and public activities, and in school projects. This indicates a need to introduce dance art into higher grades of elementary school, and also a need to introduce more dance art in lower grades of elementary school. This research has shown that dance is not neglected in schools, but if we take into consideration its developmental determinants, it can be said that it deserves more reverence, similar to ones other art forms have. All art forms, including dance, should have more space in school curricula, which is confirmed by different curricular experts.

Keywords: dance art, school curriculum, students, elementary school

This paper examines the power of the Arts in mainstream education to empower the individual to construct a more equitable and sustainable society, and then in ELT to empower English language learners to become confident in themselves as competent speakers of the foreign or second language. Recent suggested changes in global educational paradigms seek a vision for a better global society, with worldwide movements calling for a more creative curriculum and the necessity for a transformative and inclusive education for all. Drama, in all its forms, is considered as an all embracing art and, in particular, its capacity to develop social skills and empathy is explored. Using Drama to teach a language is considered sound pedagogic practice, conforming to new notions of the learning of a language through performative activity, and more effective than other methods currently used worldwide.

This article in a special Leadership Edition of Visual Inquiry appeals to arts education leaders to consider how their advocacy messages may be missing an emphasis on learners who are excluded from access to any artistic learning in public education. I make a personal call for more critical and human-centered messages by drawing on exchanges among artists, learners and teachers. Maxine Greene’s theory of wide-awakeness is presented here as an accessible advocacy theme in the form of four letters: one to the editors of this journal, one to a school board commissioner in a struggling urban district, one to a national arts advocacy leader and one to Maxine Greene.

We, the four co-editors, write the introduction for this special issue from
our respective locales and positionalities while being flooded with
images and accounts of injustice. The present moment is marked by a
desire for radical change, a belief in new possibilities for the world, and
an overwhelming sense of urgency. Things have to move. We consider
this volume a critical mix-tape created by young people, artists and
scholars during this moment of possibilities as evidence of how this
urgency drives conceptual and methodological innovations to advance
notions of equity, liberation, hope, healing, transformation, and justice.
Each of the manuscripts in this issue contribute unique “songs,” with
melodies of uplift, rhythms of resistance, and lyrics of liberation that
encourage us to create humanizing spaces through embodied praxis as
social justice.

El texto responde a la invitación a participar en una publicación sobre arte y revolución a través de pensamientos sueltos, pero encadenados, en torno a experiencias que intentan convertir en virtud las necesidades que impone la vida académica. En el recorrido se hilvanan actividades que muestran que los centros universitarios de enseñanza de prácticas artísticas son comunidades en las que se plantean aprendizajes fuera del territorio asociado al sempiterno binomio docente-estudiante, episodios del pasado desde los que pensar el binomio arte-revolución en el presente y un ensayo de investigación situada sobre qué saberes se movilizan en la academia vandalizada desde límites auto impuestos: trabajar solo con los fondos de la biblioteca de la facultad de Bellas Artes de la Universidad Complutense de Madrid.

Ένας από τους βασικότερους σκοπούς της εκπαίδευσης σήμερα είναι η ομαλή ψυχοσωματική και κοινωνική ανάπτυξη των παιδιών. Κομβικής σημασίας ερώτημα είναι πώς η διδακτική πράξη μπορεί να γίνει μια ενεργητική, βιωματική και δυναμική διαδικασία, στην οποία ο δάσκαλος είναι συνοδοιπόρος και οι μαθητές δραστήριοι ερευνητές. Η Τέχνη είναι δυνατό με τα δικά της μέσα, εργαλεία και τεχνικές να ενισχύσει τον εκπαιδευτικό, ώστε να πλαισιώσει αυτό το δημιουργικό ταξίδι στη γνώση. Όπως τεκμηριώνεται από τη διεθνή βιβλιογραφία, η Τέχνη επιδρά ευεργετικά στην ψυχοσυναισθηματική ανάπτυξη των παιδιών, στην ομαλή κοινωνικοποίησή τους, στην ανάδειξη ιδεών και στάσεων και στην εδραίωση της ενσυναίσθησης και του σεβασμού στον άλλο.
Η παρούσα εισήγηση σκοπό έχει να αναδείξει τη σπουδαιότητα της Δραματικής και της Εικαστικής Τέχνης στην Εκπαίδευση μέσα από τη συνύπαρξή τους στη μαθησιακή διαδικασία. Αξιοποιώντας τη θεωρία της Ψυχοπαιδαγωγικής, της Δραματικής Τέχνης και της παιδαγωγικής διάστασης των Εικαστικών Τεχνών θα παρουσιαστούν τρία εργαστήρια ειδικά σχεδιασμένα για μαθητές Δ’ – ΣΤ΄ Δημοτικού μέσω των οποίων επιδιώκεται η καλλιτεχνική καλλιέργεια των μαθητών, αλλά και η συναισθηματική  ανάπτυξη. Πιο συγκεκριμένα, οι μαθητές στα εργαστήρια εστιάζουν σε τρεις Έλληνες καλλιτέχνες, τον Γιάννη Μόραλη, τον Αλέξη Ακριθάκη και τον Γιάννη Γαΐτη, εμβαθύνοντας στο έργο τους με βιωματικές και ψυχοσυναισθηματικές δραστηριότητες• στο τέλος δημιουργούν δικά τους έργα εμπνευσμένα από την προηγούμενη δράση.
Στόχος της εισήγησης είναι να αναδειχθούν δραστηριότητες αντλούμενες από την Δραματική και Εικαστική Τέχνη μέσω των οποίων οι μαθητές καλούνται να παρατηρήσουν έργα, να συνειδητοποιήσουν την οπτική γωνία του καλλιτέχνη και να αντιληφθούν τα μέσα με τα οποία αυτός μεταφέρει στο κοινό το μήνυμά του. Μέσω των εργαστηρίων οι μαθητές συνειδητοποιούν πως είναι σημαντικό να εκφράζουν τις απόψεις και τα συναισθήματά τους, να δέχονται το σώμα τους και να θέτουν στόχους στη ζωή τους.
Λέξεις – κλειδιά: Εικαστική Τέχνη, Δραματική Τέχνη, καλλιτεχνική καλλιέργεια, συναισθηματική και κοινωνική ανάπτυξη, βιωματικές δραστηριότητες, ψυχοσυναισθηματικές δραστηριότητες.

This essay argues that the concept of cultural wellbeing, which has given new direction to cultural policy in some countries, is not free from internal contradictions and does not help to shape an educational policy in India capable of transforming learning and teaching in government schools. The article describes an innovative arts-in-education project which precipitated wellbeing and social justice in schools by weakening the hold of divisive and hierarchical social realities in India on classroom dynamics and relationships.   

Regrettably, MARG published this essay under the less informative title 'Arts, Educational Policy, Government Schools'. .

Q: What do you WISH was talked about openly regarding career paths after college? A: How to file taxes as a small business, how to write practical contracts for everyday gigs, and how to make cold calls for a broad variety of gigs. Turns out the real world is NOTHING like how my professors described. I'm starting to wonder what planet they grew up on. 1 Higher education faces an increasingly contradictory set of priorities shaped by external expectations and changing realities. First among these is the drive to increase access to higher education. As President Barak Obama said, Education is an economic issue when nearly eight in 10 new jobs will require workforce training or higher education by the end of this decade. Education is an economic issue when we know beyond a shadow of a doubt that countries that out-educate us today will outcompete us tomorrow. 2 This is all the more important when we realize that a high school education is no longer seen as sufficient preparation for the job market. Unlike old-fashioned vocational education, high school-level career and technical education doesn't really prepare people for jobs directly after high school. While the stated end goal of K-12 education in America is for students to be " college and career ready, " the reality is the existence of career-ready high school graduates is a myth. The expectation that high school produces career-ready adults in a 21st century economy is unrealistic and counterproductive. It has become clear that, for today's students to be prepared for tomorrow's jobs, all pathways must lead to a credential with labor market value, such as a certificate, associate's degree or bachelor's degree. Good jobs that only required a high school education, in blue-collar fields and the military, have declined, while the jobs that took their place in fields like health care, information technology and business services require more than a high school education. 3 Despite the evident mandate to provide more students with a college degree, serious questions about the quality and outcomes of degree attainment plague higher education arise, looking askance at the imbalance between rising costs, poor graduate rates, and long-term alumni outcomes. For decades, Washington has focused almost exclusively on defraying the cost of college for families as tuition sticker prices have increased. But the time has come for a new national conversation to address the far more serious and fundamental problem: how to significantly increase the quality of college education while lowering the actual cost. Take the 1.2 million students who will begin a four-year college in 2015. Based on current statistics, only 39% will graduate with a bachelor's degree in four years, with 41% failing to graduate in six. Forty-four percent will not find work that requires a four-year degree, 25% will graduate with over $30,000 in debt, and a shocking 36% will demonstrate no meaningful gains in critical thinking. 4

Yet the notion of the artist as a solitary genius—so potent a cultural force, so determinative, still, of the way we think of creativity in general—is decades out of date. So out of date, in fact, that the model that replaced it is itself already out of date. A new paradigm is emerging, and has been since about the turn of the millennium, one that's in the process of reshaping what artists are: how they work, train, trade, collaborate, think of themselves and are thought of—even what art is—just as the solitary-genius model did two centuries ago. The new paradigm may finally destroy the very notion of " art " as such—that sacred spiritual substance—which the older one created. ~William Deresiewicz History never stands still, nor do the structures of humanity such as governments, economies, religions, societies, and institutions. Even when it seems to us that these things have always existed and always will, change is inevitable nonetheless. Consider this: two centuries ago, the United States still had a primarily agrarian economy and was poised on the brink of the Industrial Revolution. One century ago, we were deep in the Industrial Age. Fifty years ago, we began to move into an economy powered by service industries and technology, which is now evolving into a " gig economy " in which workers no longer spend an entire career in the service of one employer but move from one temporary job, or gig, to the next. Or think of how technology has so radically changed the quality of everyday life. Could anyone who grew up in the 1960s or 1970s have then even imagined a world where a device the size of a deck of playing cards combined the capabilities of a telephone, still camera, audio recorder, music player, movie camera, navigation system, photo album, and fully functional computer? Just so, economic and technological evolution impacts other facets of human life, art being but one among these. Our views of artists have changed commensurately. Originally considered to be manual laborers, artists emerged as skilled craftspeople as the result of the formation of guilds in the Middle Ages, and later the Age of Romanticism glamorized artists, elevating them to mystical status, and creativity itself as a godlike power not available to mere mortals. This was the genesis of the " fine " arts, and the idea of " art for art's sake " and even the veneration of the " starving artist " who was above such mundane concerns as earning a living from their art. We admire van Gogh not only for his artistic skill, but as a genius who sacrificed everything for his art, dying in lonely obscurity yet leaving a legacy of artworks that are today the most prized of all. We are impressed by the huge sums for which certain works of art are sold at auction, yet repelled by the idea that an artist might create works of art for the purpose of earning a living rather than solely to express an inner vision or communicate a cosmic truth.

The uncertainty of postmodern world is a common belief. This uncertainty influences citizens in all aspects of their lives (personal, professional, social, etc.). The question arises intensively: How can people be prepared for this continuous changing? One of the suggestions presented in current literature is the development of critical reflection. Educational environment can play a major role in this domain. The need for the development of critical reflection is especially noted in the higher education framework. Universities can become a “holding” environment for transformation. This study underlines the importance of preparing young students as future professionals and citizens, by developing their critical reflection. A practical method is discussed and concerns the use and benefits of the aesthetic experience in a transformative learning procedure. The research presented here is based on the application of this method and aims to the reinforcement of specific dimensions of adulthood in a university environment. The application was carried out on students of the department of educational studies at a Greek regional university. One of the topics analyzed through art was the notion of “useful knowledge” and was part of a wider range of applications that concern the process of learning.

Las artes multimediales son un campo emergente en la educación universitaria al día de hoy. La educación artística no son manualidades, tampoco es diseño, pero necesita de una estructura comunicación para alcanzar a su público lo que sucede solo si lo hacemos y tendremos que lidiar con todas las emociones que esto conlleva. Pensamos en la experiencia curricular de pensar en Artes Multimediales dentro de la Universidad de Palermo, como construcción de un propósito compartido desde injertar experiencia y emoción. En la inmediates de repensar el arte desde la auto eficacia de los alumnos y el docente revisamos aportaciones desde lo emocional y desde el aprendizaje experiencial en la enseñanza, de recepcionar y trasmitir arte. En la inmediates de repensar el arte desde la auto eficacia de los alumnos y el docente revisamos desde la educación emocional y desde el aprendizaje experiencial en la enseñanza para recepcionar y trasmitir. Las artes multimediales son un campo emergente en la educación universitaria, práctica en trasformación. La educación artística no son manualidades, tampoco es diseño, pero necesita de una estructura comunicación para alcanzar a su público lo que sucede solo si lo hacemos y tendremos que lidiar con todas las emociones que esto atrae. Pensamos en
la experiencia curricular, como construcción de un propósito compartido al injertar experiencia y emoción.

Collaborations and partnerships between universities and the K-12 public school system have the potential to significantly impact the availability of arts education. Due to funding challenges and almost non-existent district-level support for arts education, in-school and highly replicable model programs like ArtsBridge America, a national network of twenty-two university outreach programs in thirteen states, are currently being developed to address the lack of arts education in the majority of our nation’s public schools. In order to ensure the long-term success of these types of programs, elements of administrative, financial, and longitudinal sustainability must be uncovered and addressed. It is essential to focus on key elements for sustainable and long-term model arts education programs for K-12 schools like shared leadership, parent and community involvement, multiple and varied funding sources, and professional development in arts education for K-12 teachers. Through an assessment of the sustainability of the ArtsBridge America program, this study seeks to discover the strengths and weaknesses of this model so that research outcomes may be applied to benefit other university/school collaborations and also to nonprofit community arts outreach programs. This project expands current understanding of arts education programming and explains necessary elements of sustainability for a model arts education program like ArtsBridge America so that programs of this nature may proliferate successfully.

The will to have freedom and a will to experience equality in learning form a vital relation to our capacity to make choices in life. This article offers a comparison between Sartre and Rancière that is new to the field of research in education, and contributes an argument for relational philosophy of freedom and equality. Existentialist insights into how we experience the world through affect and embodied intelligence are raised in this exploration of the contemporary significance of ‘freedom’ in education. Questions of capacity for free choice are addressed, in discussion of historically different opportunities across identifications of gender, class and ethnicity - within and outside formal education. In this comparative approach, constructive parallels are identified between Sartre’s philosophy of freedom and Rancière’s method of equality, that form a new relation to the arts and learning. I argue that there are positive connections that can affirm flexible, responsive, and representative free thinking in creative practice.

This chapter explores cognitive, sensory, and emotional dimensions of contemporary craft education.  I have often overheard ceramics and craft teachers lament not only adolescent students’ inability to model clay, knit, and/or crochet – but also express concern for adult students who have scarcely ever worked with their hands in a direct engagement with tactile art media.  Learners who encounter warm, soft, and time-honored materials of craft can engage not only with craft histories and hand-made sensibilities, but can also “get in touch with” a sense of their own development and the embodiment of internal transformations.  This chapter juxtaposes historical voices of M. C. Richards and Seonaid Robertson concerning wholeness and holistic education with commentary on contemporary D.I.Y. cultures and digital communities renewing and revising craft.  Within this chapter, I will also investigate uneasy connotations of culture, gender, and status surrounding craft materials, including characterizations of “soft” scholarship and “hobbyist” status in artists’ engagement with felt, fabric, fiber, clay, and other soft, sensory “stuff.”  I will consider examples from my own work teaching children about craft and clay, projects of the International Fiber Collaborative, and online craft groups geared towards adolescents and young adults, as rich and varied learning examples exploring identity and community.

The praxis of teaching, learning, and co-creating spaces for students to build from their pasts, in the present, to shape their futures, is an essential function of building the emotional infrastructure of schools. Building the emotional infrastructure in schools requires art educators to engage a critical pedagogy, be transparent about failures, and collaborate with students to activate collections that comprise the archives of their lives. This disrupts the current and historical hegemony held within dominant archives that inform public perception about schools and students. As educators develop curricula opportunities that disrupt hegemonic and carceral discourses in schools, we effectively activate an arts-based insurgency full of abolitionist possibilities. The insurgency offers creative depictions and stories from students and communities, architecting a new record that provides an annotated memory of the American education system. As power shifts into the hands of students, educators, and communities whose voices and creative records are the vanguard of solutions and strategies to shift our current education systems toward equity, opportunity, community, and creativity. Towards an emotional infrastructure that builds the capacity for students and educators alike to thrive.

This article examines the unique educational approach of the Waldorf (Steiner) school, which is based upon integrating the arts in educational processes. The article first presents the theoretical and practical aspects of the fundamental approach of Rudolf Steiner, founder of this educational movement. The article then describes the practical implementation of this approach together with different aspects of integrating the arts in the Waldorf school pedagogy. Lastly, the field of music is brought as a case example for artistic educational work across the first through twelfth grades. The question of reciprocal relations between art and education is examined in light of this unique educational perspective. Questions pertaining to the influence of these relations upon Waldorf school graduates are raised in the article’s conclusion. Article visualizations: