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An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed within the broader sociocultural context of arts education. As an art educator who has been learning and teaching in the Korean sociocultural context since the 1970s, I have experienced the struggle between my identity as an artist and my identity as a teacher amidst the changes in educational ideology reflected in the Korean national curriculum, which is a set of pedagogical discourses and practices that are constructed within a particular sociocultural context. It can be said that my autobiographical narration has important implications for the practice of art education in connecting individuals and society in an ambiguous and complex future society by enhancing theoretical understanding of wider social phenomena. In this paper, the narrative interpretation of my changing identity as an artist, an art teacher and a teaching artist provides a timely insight into identity shifts in how the artwork we encounter and our perceptions of art are shaped and transformed by our own cultural experiences and recollections of our own personal experiences within the interconnectedness of art and education across time. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses articles within the issue on topics including art education, effect of Anthropocene/Capitalocene on the practice of art, art education and pedagogy, and relational pedagogy that empathize and work with the affective dimensions of young people.

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the 'daily extraordinary.' A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors. [ABSTRACT FROM AUTHOR]

This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several colonialities. The idea of theory as a practice enacted through questioning, displacements, staying in research and getting to know the archives we inhabit framed the work carried out. The text is an exercise in revisiting the workbook, activating it now through reading and outside the group of participants to which it was made. It is not linear in the sense of recounting the experience; rather, it seeks to blend today's writing with the exercises drawn from that workbook. [ABSTRACT FROM AUTHOR]

Considering art and its educative potentials as a living experiment with the body's elemental constitution and modes of organisation, this article engages water, earth, air, and fire as milieus through which a body learns to sense, move, and act in the world differently. This leads to a series of propositions for an elemental philosophy of arts education, which recognises the intersectional and decolonial potentials of bodies, and strives to amplify and proliferate these potentials through creative pedagogic practices. If, as Elizabeth Grosz (2017) proposes, "the chain of evolutionary emergence is unbroken not only materially but also conceptually" (p. 250), then arts education offers an expression of the body's incorporeal and material potentials as they change and evolve through time. Further to this position, we argue that arts education has the potential to radically reframe relationships with water, earth, air, and fire in ways that resist their co‐option as tools of colonialism and intersecting categories of oppression. [ABSTRACT FROM AUTHOR]

The fate of art's education looks like a cynical and rather hopeless process. Those who belong to the field pledged their loyalty to the discipline by dint of how they regard art as being inherently pedagogical – what is here called art's education. Decades of engagement in art's education leaves one travelling over spaces that present themselves as widening chasms between art's education (the pedagogical inherence of art) and art education (art's location within the structures of schooled education). Chasms aside, new borders and unnecessary walls keep being erected just as new territories and jurisdictions are continuously declared. Those of us who have always regarded themselves as migrants within the field would be forgiven to pine with nostalgia for when, not so long ago, art and education moved and roamed with pride and autonomy. Maybe it is this nostalgia which keeps us hoping, while knowing very well that often we tend to idealise the very 'past' in which we take false solace. [ABSTRACT FROM AUTHOR]

This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with House of Imagination,School Without Walls and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more‐than‐human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the Forest of Imagination, a long‐term participatory contemporary arts and architecture event in Bath, UK. Forest of Imagination offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world. [ABSTRACT FROM AUTHOR]

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers' training programmes. Intercultural and students' cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre‐service teachers' cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts‐based methodology that articulates art, research and education, the study presents the students' voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes. [ABSTRACT FROM AUTHOR]

Pre‐service teachers need to experience authentic arts activities to confidently impart the quality arts engagement that young learners deserve. Most importantly, these experiences should contribute to shaping emerging teacher identities. We sought to understand the student experience of online early childhood pre‐service in their arts courses, and what they need to become competent and confident teachers of the arts. Using data from 51 responses to a 24‐question qualitative survey distributed across three Australian universities, we engaged in the methodological process of qualitative bricolage to present a story constellation offering important insights for online teacher‐educators in the arts. [ABSTRACT FROM AUTHOR]

Although visual arts teachers have free access to high quality online artwork images offering them immense teaching resources, making meaningful use of them remains a pedagogical challenge. During the COVID‐19 pandemic, the transition from face‐to‐face to online teaching caused an immediate need for teachers to enhance their digital competencies and technological capability for planning and delivering a blended art curriculum. Herein, I propose a 'teacher‐curator pedagogy' via a study in six primary and secondary schools in Hong Kong to assess its effectiveness. The study took place in the academic year of 2021‐22 with 331 student participants. The proposed pedagogy puts visual arts teachers in the role of 'digital curators' who create virtual exhibitions for teaching art appreciation and artmaking. This paper addresses the theoretical framework, implementation strategies, and the results of the study highlighting its effectiveness, impact and limitations on teaching when using teacher‐curated virtual exhibitions in both physical and virtual learning contexts. It was found that the technological capacity and confidence of the teacher participants was enhanced through the use of online resources and virtual exhibition tools. Making use of the 3D presentation of exhibits in themes and context through digital content curation, the teachers engaged students with deep interaction through the blending of online and face‐to‐face teaching. However, the proposed pedagogy was limited by the high demand of training and preparation work, hardware and software support, and difficulties in assessing and monitoring learning beyond class. [ABSTRACT FROM AUTHOR]

Art education has a range of purposes. Art is said to support students to explore, interpret, ask critical questions, communicate and realise ideas, experiment, take risks, collaborate, tell stories and/or engage in social and political actions. In this paper, we consider whether educational researchers have the same capacious view of students' potential and capacities for involvement. We bring the results of a Rapid Evidence Review (RER) of the benefits of arts education into conversation with the literatures on student voice and participation. We outline the ways in which student voice and participation are discussed, then move to the results of the RER. We conclude with a discussion of the opportunities for art education researchers to develop research practices that are inclusive of students. [ABSTRACT FROM AUTHOR]

There is a paucity of research on the causal relationship between arts learning and educational outcomes. Investigating these relationships has become imperative as policymakers increasingly prioritize empirical evidence of educational impacts, which often leads to curriculum narrowing that favors traditionally‐tested subjects. Employing a randomized controlled trial with 42 elementary and middle schools in Houston, Texas, we find that randomly assigning arts educational opportunities reduces disciplinary infractions, improves writing achievement, and increases students' emotional empathy. Students in elementary schools, which were the primary focus of the program, also experience increases in school engagement, college aspirations, and cognitive empathy. As the first large‐scale randomized control trial of arts learning in an authentic school setting, these findings provide strong evidence that the arts can produce meaningful impacts on students' academic outcomes and social‐emotional development. Education policymakers should consider these benefits when assessing the role of the arts in schools. [ABSTRACT FROM AUTHOR]

Scholars in recent years have explored the connections between video games, literacy, and learning. Research illustrates that video games can serve as texts for engagement and analysis in English language arts classrooms. Scholars have also demonstrated how games themselves effectively integrate a complex array of learning principles that help players understand and progress in the game. In this article, we explore how recent efforts in game design to promote accessibility for differently abled gamers have implications for literacy education that can promote inclusivity and equity in English language arts classrooms. While recognizing the social construction of the concept of (dis)abilities, we explore existing literature on the video games, literacy, accessibility, and universal design for learning. We then demonstrate specific ways that video game designers promote visual, auditory, motor, and cognitive accessibility for gamers and share how literacy educators can draw upon these strategies to promote accessibility in their curriculum and instruction to help all students engage, learn, and thrive. [ABSTRACT FROM AUTHOR]

This article considers high school students' relationship to poetry through a small‐scale qualitative study guided by the question: what happens to student perceptions of poetry when class begins each day with a poem? As a former teacher and current teacher educator, I conducted a series of interviews with a small group of my former students regarding their experiences with poetry throughout their K‐12 education and with hearing a poem each day in their high school English Language Arts classroom. I sought to explore the dimensions and possibilities of non‐analytical literacy practices in addition to student perceptions of poetry as they relate to schooling contexts more broadly. [ABSTRACT FROM AUTHOR]

Creativity is generally considered a personal attribute, which is individualist and cognitive and less as a relational construct situated culturally and collectively. Past comparative cultural studies of creativity involving East Asian contexts focus on an individualist and cognitive perspective with relatively limited research investigating the cultural and collective aspects of creativity. This is a phenomenographic investigation of how creativity in the Visual Arts is conceptualized by Japanese adolescents. Participants included 14 students of Art and Shodo (Traditional Japanese Calligraphy) attending a co‐educational school in Tokyo. Students were interviewed individually or within a focus group to explore their understanding of creativity. Creativity in this context was associated primarily with "thinking" as a process rather than product‐orientated notions of creativity typical in the Western context. Our findings challenge understandings of creativity as a set of characteristics predominantly associated with tangible and quantitatively measurable cognitions regardless of context and suggest that understanding the richness of creativity should engage the socio‐cultural environment. In particular, Japanese cultural norms and language significantly influence how creativity is constituted and discerned. Students' complex, varied, and personal conceptualizations of creativity were mediated through their experiences with traditional or non‐traditional art. [ABSTRACT FROM AUTHOR]

Martial arts education has a relatively comprehensive educational function. Compared with other educational methods, it has some unique features. When martial arts education carries out moral education, it not only attaches importance to the teaching of moral norms but also requires martial arts practitioners to practice moral norms, so martial arts education is more practical in improving moral literacy. In fact, the role of martial arts education is far from just playing its role in strengthening the body. This kind of prejudice of mindset conceals the diversity characteristics of martial arts education. This paper proposes to apply artificial intelligence technology in martial arts education governance, which uses the target tracking algorithm based on deep learning to track and analyze the movement of martial arts practitioners. At the same time, this paper uses the pose estimation algorithm of coordinate regression to predict the key points of the human body from the global perspective of the human body and then locates the key points of the human body from the features. It greatly simplifies the prediction of key points and solves the problem of nonstandard movements of students in martial arts education. The experimental analysis part includes the results and analysis of the impact of AI-based flipped classroom teaching on students' martial arts learning and the comparison and analysis of students' martial arts learning in the two classes after the experiment. The analysis results show that the P values of the four aspects of learning interest, active participation attitude, independent exploration ability, and analysis and problem-solving ability of the two classes are all less than 0.01, indicating that there is a significant difference. [ABSTRACT FROM AUTHOR]

At present, art education curriculum reform is in full swing. Art education in China started late but as an important element of quality education. Art education is particularly important today with rapid economic development and advanced technology. The art subject is the sum of the teaching content of the art subject and the execution of teaching activities expressed through the network, including two components: the teaching content organized according to specific teaching objectives and teaching strategies and the network teaching support environment. Unlike existing multimedia courseware, several features reflect the advantages of online education, unlike online courseware. Each school generates a large amount of student performance data every year, and existing systems only perform simple backups, queries, and statistics on these data, which do not reflect the weaknesses of education in a centralized and comprehensive manner. Data mining can extract valuable information hidden behind the data from a large amount of data and has been applied in more and more fields with good results, which helps people to make correct decisions. In this study, we propose a decision tree model-based repository and search platform for school art and painting education resources, briefly outline the decision tree model, and analyze the architecture and operation of the school art and painting education resources repository and search platform. The experimental results show that the Virginica accuracy of the decision tree model is 0.42 higher than that of C4.5, which greatly improves the accuracy of the preferred class and ensures the overall accuracy remains unchanged. Therefore, this system realizes the art education resource repository system and realizes the needs of college users to share art professional information and resources. [ABSTRACT FROM AUTHOR]

With the rapid development of the times, various industries have undergone earth-shaking changes in the face of development trends. The education industry is also making progress in development. Art design and new media technology can be better presented to the public, and it is also convenient for designers. This paper investigates the local art design and art design education. (1) The new media art design and the traditional art design are compared, and the advantages and disadvantages are analyzed. Both have advantages and disadvantages, and they should learn from each other and improve the disadvantages. (2) Conducted an investigation and analysis on art and design education, and the analysis results showed the defects of today's art and design education, and analyzed the methods of improving art and design education through the school's investigation and applied it to art and design education. (3) Artists and designers are very important for local art. This paper analyzes the genealogical relationship of art designers and the composition of local art designers, taking Yunnan as an example. [ABSTRACT FROM AUTHOR]

With the continuous progress of the economic era, both art and design education and local small and medium-sized enterprises are facing the crisis of survival and the pressure of competition, forcing the two to join hands to resist this crisis. The protection of the ecological environment will not only affect people's lives, but also affect the design and creation of art. This paper adopts the methods of correlation degree and correlation coefficient to construct a feasibility analysis model of mutual benefit cooperation between environment-embedded art and design education and local SMEs development based on improved grey analysis. It is to help art and design education and local small and medium-sized enterprises to continue to develop. The research results of this paper show that: (1) The accuracy of the model in this paper is on the rise as a whole, with the highest accuracy rate of 96.2%; the highest accuracy rate of the improved neural network model is 87.1%; the highest accuracy rate of the random forest algorithm is 86.3%; and the traditional model is the highest. The accuracy rate is 80.3%. (2) The recall rate of the traditional model is between 0.0816 and 0.0984; the recall rate of the random forest algorithm is between 0.726 and 0.983; the recall rate of the improved neural network is between 0.752 and 0.961; the recall rate of the model in this paper is between 0.615 and 0.815. (3) The overall static payback period is decreasing year by year, and the overall rate of return is also increasing year by year, which shows that the cooperation between art and design education and enterprises can bring higher benefits to enterprises. (4) After the cooperation between the two companies in 2016, various indicators have risen significantly. The highest net present value is 92.55 million yuan; the highest profit index is 1.98; the highest net present value rate is 35.8%, and the highest internal rate of return is 79.2%. (5) After school 2 cooperates with the enterprises, the employment rate has increased year by year, with the highest employment rate of 88.3%. In contrast, the annual employment rate of school 1, which does not cooperate with enterprises, is irregular. (6) The percentages of environmental indicators such as total emission reduction, environmental quality, and pollution control have all increased, and resource consumption has decreased by 28%; the public's satisfaction with the results of environmental protection has also reached 90%. (7) The average evaluation of each index is above 8 points, the highest score for completeness is 8.5, the highest score for feasibility is 8.9, the highest score for recognition is 9.2, and the highest score for practicality is 8.7. [ABSTRACT FROM AUTHOR]

The modernization of education necessitates the enhancement of instructional quality. This paper begins with a basic overview of the current state of film and television art education and then goes on to examine the current state of film and television art education and develop a virtual simulation-based teaching mode for film and television art. This paper develops an instructional quality evaluation model to assess the feasibility of this teaching mode. In this model, GA is used to optimize BPNN's initial weights and thresholds, reducing the time it takes BPNN to find the weights and thresholds that satisfy the training termination conditions. Improve BPNN's prediction accuracy and convergence speed in relation to instructional quality evaluation results. The evaluation accuracy of this algorithm can reach 94.31 percent, which is 6.35 percent higher than other methods. Furthermore, the use of virtual simulation technology in the teaching of film and television art in higher education institutions can have a significant impact and have far-reaching research implications. The findings of this study can be used to improve the teaching of film and television art in institutions of higher learning. [ABSTRACT FROM AUTHOR]

Over the past two decades, the idea of purchasing art as an asset class has attracted many collectors with investment goals to the art market. I examine how collectors trade art by focusing on their investment horizons. Controlling for quality and market conditions, I show that collectors' personal tastes and uncertainty in valuation could affect how long they keep their artwork. I also find that specific characteristics of artwork or artists are determinants of investment horizons. The natural conclusion of the findings is that artwork with high common market value is traded more frequently, whereas higher personal valuation can lead to longer duration ownership. [ABSTRACT FROM AUTHOR]

This study examined 94 bilingual and emergent bilingual 10th grade students' perspectives on multimodal composing for academic purposes in their English Language Arts class. A social semiotics theoretical framework was employed to understand students' views of the affordances and constraints when composing three digital multimodal projects—a hypertext poetry analysis, a persuasive podcast, and a video literary analysis. Qualitative analysis of interviews and written reflections revealed how students overwhelmingly held a positive view of composing with multiple modes for academic purposes. Students detailed the unique semiotic resources of nonlinguistic modes for supporting their understanding of the content and innovative meaning‐making. A majority of students described how communicating through multiple modes offered impactful opportunities to express their bilingual/bicultural identities as well as explore the affective dimensions of the English Language Arts content. Additionally, students explained how the process of multimodal composing fostered peer collaboration and creating meaningful connections to other works and their lives. Along with affordances, students also described a variety of challenges when designing their digital projects, including technical difficulties, uncertainty of expectations, and sufficiently representing their ideas multimodally. This study concludes with implications for how educators can learn from listening to emergent bilingual students' perspectives when integrating technology in the classroom. [ABSTRACT FROM AUTHOR]

The aim of this study was to examine the early childhood experiences of children visiting an art exhibition with their fathers and creating their own artwork. It was designed and conducted as a narrative study, which is a qualitative research methodology. Five children in early childhood (48–88 months old) and their fathers participated in the research carried out in a Contemporary Arts Centre in Ankara, Turkey. Each father and child dyad visited the exhibition at different times and their dialogues during these visits were recorded. The data obtained in the study were analysed through content analysis. It was shown in the results that the fathers and children expressed their thoughts about features of the exhibited works such as size, line, transparency and texture as well as other aspects such as the part‐whole relationship and the materials and techniques used in the artworks. It was also observed in the process of creating images, that the fathers and their children had experiences in planning and initiating the creation process, continuing the drawing/colouring process, associating their artwork with the exhibition, naming their artwork and creating a common symbol. In addition, it was found that the fathers created narratives stating that they learned more about the perspective of their children regarding art, got to better know their children's interests due to the artistic experience and decided to have more frequent artistic experiences with their children in the future. [ABSTRACT FROM AUTHOR]

This case study examines Mexican‐heritage children's learning to dance ballet folklórico. Drawing from an interpretive, ethnographic approach, we argue the practices associated with the dance exist within encompassing domains of meaning that are individually enhancing while also prosocial, encouraging membership to the folklórico group and broader cultural community. These domains are presented as "herencia" (heritage), "familia" (family), and "orgullo" (pride) along with a discussion of how they relate to access and equity in arts learning. [ABSTRACT FROM AUTHOR]

This article reports on a research that explored students' critical thinking in visual arts secondary education. The study was underpinned by an appraisal of the effects of the visual on students' lives and the importance for them to critically navigate these experiences. Aotearoa New Zealand's bicultural educational policies – based on Māori and European views – and flexible curriculum emerged as a rich conceptual vantage point from which to examine critical thinking. In this context, the curriculum underpins dialogical pedagogies and visual arts students engage in unique arts‐based projects driven by their personal interests and visual culture. The research was framed by a/r/tography, a methodology that enabled the interconnection of the fields of art, research and education in response to what emerged from the data. Through verbal and artistic means, the findings show the critical potential of Indigenous knowledge, dialogical pedagogies and arts‐based research methodologies. [ABSTRACT FROM AUTHOR]

New spaces of possibility are opening up in the light of the pandemic, with a shared purpose to offer an alternative, creative approach to learning and researching experimental sites for pedagogical innovation. In our partnership work, our creative methodology, with everyone an artist, drives the ambition for artistic excellence. These new blended spaces, engage artists and educators in creative and reflective practice that places the arts, culture and creativity at the heart of a future pedagogy. These spaces can be interrogated to distil a repertoire of creative pedagogical characteristics that optimise agency, freedom, choice and imagination. [ABSTRACT FROM AUTHOR]

The article contextualises the emergence of the Feral Art School, established in Hull in 2018 by artist‐educators following the winding down of Hull School of Art and Design. This alternative art school is the most recent of many established in the UK since the government's Independent Review of Higher Education Funding & Student Finance or Browne Review. This article argues that the processes of 'economisation' enacted by this review have severely threatened the health of arts education in the UK, forcing the closure of provision and increasing barriers to higher education arts education for the disadvantaged. This article uses the example of Feral Art School to demonstrate how provincial art schools might re‐emerge in new, counter‐hegemonic forms. The Feral Art School is run as a Community Interest Company (CIC) with cooperative values. We argue that these values extend to the philosophy of education underpinning all of Feral's activities. [ABSTRACT FROM AUTHOR]

Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of 'teacher as conceptual artist'. In short, Lucero proposes that a teacher's practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, 'elicitation‐interviews' were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom. [ABSTRACT FROM AUTHOR]

In order better to support children's learning experiences, art museums have begun to establish interactive art exhibitions designed for family visitors. However, as more of these interactive exhibitions are established, some museum professionals are raising concerns about whether these exhibitions actually facilitate young visitors' learning or impede them from engaging further with the art objects exhibited. Using the Family Room (FR) of the J. Paul Getty Museum in Los Angles as a case study, this research examines the educational principles considered and the challenges encountered when conceptualising and implementing its interactive exhibition. My research shows that the FR project team emphasised three educational principles to be integrated into the exhibition design: (1) interactive learning, (2) family as a learning unit, and (3) enhance the learning of basic artistic elements. The FR's overarching educational objective is to encourage transfer of learning between the FR to the Getty traditional art galleries. My research concludes with three suggestions to be considered in future practices of art museum education (1) the limits and potentials of interactives, (2) the interactive exhibition design and scaffolding, and (3) transfer of learning between galleries. [ABSTRACT FROM AUTHOR]

Having started from theoretical premises, the following study showed the results obtained by research work carried out on the use of artistic methodologies in the educational designs inventoried in the database of the Spanish Heritage Education Observatory (SHEO). This article's aim was to understand and learn about the use of artistic techniques in the designs of heritage education programmes. To this end, the authors resorted to SHEO's own methodology for the assessment of the quality of educational programmes. In this study, specific modifications were introduced in the latter methodology as well as in the data collection and analysis tools so as to adapt them to the specific topic of our research. In order to achieve this purpose, a descriptive‐statistical analysis of the variables defined for the sample was made by using the SPSS software. The main results were not particularly promising and point to the low representativeness within the whole database of the educational designs inventoried in the SHEO database that use artistic techniques as well at the playful and use that was made of such techniques in those designs and the absence of solid contents in this regard. [ABSTRACT FROM AUTHOR]

This article draws upon Rancière's concepts of the 'distribution of the sensible' and 'dissensus' in order to explore some of the tensions and processes at work in a multi‐year school change project that sought to transform a school through the 'urban arts'. Building on student interest in extracurricular Hip‐Hop and street art programming, the school tried to integrate the urban arts across the curriculum through a partnership with local arts organisations and university researchers. While there were a number of project successes, the project also faced significant resistance, which in Rancière's terms might be inevitable since the project tried to transform the dominant ways of doing and making in the school, displacing those who no longer saw themselves reflected. We understand the tensions in light of the disruptive power of street art and Hip‐Hop culture, but also as manifestations of antiblackness in education. Using data from a three‐year critical ethnography, we share a series of narrative vignettes which unpack the role of the visual arts in challenging the distribution of the sensible at the school, and offer insight into how teachers might have been better invited in as participants in dissensus. [ABSTRACT FROM AUTHOR]

Rural youth trail their non‐rural counterparts in college enrollment and attainment, especially for degrees from selective schools; these gaps further spatial inequality in the United States. Much research has focused on rural parents as impediments to rural college‐going: many rural parents did not attend college, and their educational aspirations for their children are lower than those of urban parents. However, every year, thousands of rural students do head to college, even to selective schools, and little is known about their parents' influence on their enrollment. This qualitative study focuses on rural parents without a bachelors degree, investigating the roles they play in their children's aspirations and enrollment at a private, selective liberal arts college and examining their perspectives on this type of school. The results suggest that parents are an important source of social capital, supporting aspirations and enrollment. They also show that these parents see a liberal arts education as a path to a remunerative and rewarding career, and, in supporting their children's college choice, they value factors—financial aid, proximity, and a welcoming school culture—that mitigate the social, cultural, and moral boundaries separating home from college. [ABSTRACT FROM AUTHOR]

Curriculum integration is a feature of many new curricula that have emerged in different countries since around the turn of the millennium. It focuses on removing the boundaries between traditional subject specialisms, to enable more holistic and 'joined‐up' learning opportunities. This study draws on the experiences of a group of primary and secondary teachers in Wales, engaged in creating a framework for an integrated curriculum for expressive arts. Whilst the teachers are united in their ambition for establishing a curriculum that gives greater status to the arts, curriculum integration presents significant challenges, notably in how subject knowledge is understood and presented within an integrated curriculum. The teachers take different approaches to curriculum integration, with primary teachers favouring a transdisciplinary approach, with child‐led learning and themes taking precedence, and secondary teachers opting for multidisciplinary approaches, where the themes are organising devices but where subjects take priority. Differing practices suggest differing conceptions of subject knowledge and mastery within an integrated curriculum. Drawing, in particular, on Bernstein's concepts relating to knowledge discourses, this paper suggests that the danger of an integrated curriculum is weakened disciplinary knowledge. Whilst this paper relates to the arts, the messages about curriculum integration might be applied more widely. [ABSTRACT FROM AUTHOR]

This article examines the co‐occurring realization of two sociophonetic variables within a style—the LOT vowel in English and word‐initial /l/—to explore the link between articulatory setting and stylistic practice. At an arts‐focused high school in the San Francisco Bay Area, the curricular and social practices of students in the technical theatre department centre around manual labour. Ethnographic analysis demonstrates that "tech" constitutes a locally enregistered persona, informed by tech students' positioning as working‐class subjects through their bodily, sartorial, and technological practices. Tech students also produce higher and more rounded variants of LOT, and more velarized productions of /l/, than their non‐tech peers, and I suggest that articulatory setting is at play in the cohesive indexicality of these variants. I advocate for the continued exploration of co‐occurring sociolinguistic variables which treat the body as a broader stylistic context, and propose that studies of co‐occurring features focus on the ideological processes by which combinations of variables come to index thematic styles. [ABSTRACT FROM AUTHOR]

Education increasingly operates in neoliberal terms; privatisation, marketisation and competition have become key drivers for schools in England. This article explores the findings from an ethnography that points to how arts education practices are being used to 'art‐wash' schools resulting in parents with the requisite economic, social and cultural capitals ensuring that their children benefit the most from a creative education. Whilst most of the narratives on artwashing have so far focused on arts institutions and global capital, this article questions how some of the specific processes of gentrification may be extended to the current education system in England and ask if schools and arts organisations may increasingly be 'art‐washing education'. [ABSTRACT FROM AUTHOR]

The purpose of this article is to share ideas from 5x5x5=creativity, a research initiative established in Bath (UK) in 2000, with the aim of developing and embedding a creative and reflective pedagogy in schools and early years settings. 5x5x5=creativity research, in partnership with schools, educators, artists, creative professionals, mentors and cultural centres, aims to raise the aspirations and improve the life chances of children and young people as creative learners. In our research we want to develop creative reflective practice and influence systemic educational change. This research defends the special role of the arts in developing a more flexible concept of education through curiosity and creativity, together with the capacity for the arts for allows 'possibility thinking' through a creative and critical pedagogy. In this article we analyse the impact of the artists' involvement on the development of a creative, reflective pedagogy in schools. As both artists and educators we believe it is necessary to challenge current orthodoxies and establish creative and critical thinking at the heart of learning for both children and adults. [ABSTRACT FROM AUTHOR]

Creativity has become the new watchword in UK academic and policy circles. Within this context, policy discussions about the arts and their impact emphasise economic benefits over educational value, drawing clear distinctions between quantifiable or 'hard' measures of impact and those described as 'soft', less tangible and lacking a strong evidence base. Departing from the binary logics often underpinning notions of arts impacts, this article is novel in exploring the entwined relationship between impacts seen as 'hard' and 'soft'. We draw on research examining the links between arts education and young people's future trajectories and use the concept of 'active citizenship' to show how informal, softer skills fostered through creative learning are an important part of citizenship‐making for some young people. Participants' accounts show how improvements in soft skills can give young people opportunities for agency, which shape progression pathways leading to measurable change. This finding is directly relevant in the context of evaluations of arts impacts in the UK and abroad, and should encourage further examination of the impact of creative learning on transfer of skills as well as policy developments in this area. [ABSTRACT FROM AUTHOR]

Home education, or home schooling, is a rapidly growing global educational phenomenon. Given the emphasis that educators, policy makers and researchers have placed upon the arts as an important element in a holistic education, the ways in which the growing home education community are facilitating arts learning warrants consideration. Facilitating quality arts learning has been found to be extremely challenging, especially for generalist classroom teachers who may not possess background learning across the range of arts subjects represented in most arts curricula. Revelations from this study on Australian home educating parents identifies a similar dilemma with the facilitation of arts learning in home contexts, and a significant proportion of the home educating participants acknowledged little to no educational or artistic training. In this project, an online survey was conducted to develop insights into the ways Australian home educators (n = 193) approach arts education, the challenges associated with facilitating arts learning and the strategies they employ in light of these challenges. The research highlights that, while home education is pedagogically unique and distinct from traditional classroom education, the challenges participants expressed regarding teaching in the arts aligned closely with those expressed by classroom teachers in wider research; however, the uniqueness of home education contexts means that support structures for classroom teachers are less helpful for home educators. Implications arising from the research are thus beneficial in understanding the nature of support that might be tailored for arts learning in home education. [ABSTRACT FROM AUTHOR]

In this article, Tyler Denmead draws upon critical race theory to argue that the creative city discourse reproduces racial injustice for youth. In particular, the creative city invests in the property rights and profitability of whiteness by inscribing creative superiority on the bodies of young people who are more likely to be privileged by virtue of their race and class. Through evidence collected by both autoethnographic and ethnographic methods, Denmead discusses how his history as an arts educator has been entangled in the manifestation of this racist reconfiguration of urban space in one particular American city, Providence, Rhode Island. He discovered that the racial dynamics of the creative city discourse have productive power over how young people construct their identities and make life choices in this city and, further, that those dynamics operate in and through artist partnerships between those positioned as creatives and those positioned as troubled youth. As a result, Denmead argues that white arts educators, in particular, must disinvest themselves from notions of creativity that enhance the profitability and power of whiteness. This move requires advocating ceding land and resources that have been acquired through the creative city discourse and committing to reframing culture‐led urban renewal in terms of the economic and creative flourishing of communities of color. [ABSTRACT FROM AUTHOR]

The author reflects on the developments in the journal and arts education. Also cited are her appointment as the journal's principal editor, her work on improving democratic and dialogical engagement with artwork in public art galleries, the importance of arts activities and creative engagements to the mental health of children and young people, and the importance of art and design education in people's lives.

Abstract: This longitudinal study examines the relationship between young people's creative and performing arts participation (e.g., in dance, drama, film, music, visual arts) and their arts self‐concept. Drawing on the positive youth development (PYD) framework and the reciprocal effects model (REM) of self‐concept, a cross‐lagged panel design is implemented to explore the connections between arts self‐concept and each of school (e.g., school‐based arts instruction), home (e.g., parent–child arts interaction), and community (e.g., out‐of‐school arts instruction) creative and performing arts participation. The study drew on an Australian sample of 643 elementary and high school students from 15 schools. Analyses showed that beyond the effects of socio‐demographics and prior achievement, there are longitudinal associations (including reciprocal effects) between numerous forms of creative and performing arts participation and arts self‐concept. Implications are discussed. [ABSTRACT FROM AUTHOR]

Abstract: This article is concerned with design applied to gardens, using examples from the Chelsea Flower Show in London. There is a discussion of those show gardens that represented Syrian refugees’ gardens in Iraq and the Windrush generation immigration to the UK. The garden designs combine the aesthetics of organic materials and spatial architecture with an implicit critique of topical contemporary social issues. The article concludes by commenting on the risks posed by the reduced and impoverished UK arts education policies for producing the next generation of applied design practitioners. [ABSTRACT FROM AUTHOR]

Abstract: This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills. [ABSTRACT FROM AUTHOR]

Abstract: This article reports on findings from a research study exploring the potential for democratic learning in a gallery education project which took place in the UK in 2006–7. In doing so, it also explores a pressing issue for education today: the question of young people's democratic education in a time of political crisis in Europe. The focus of the article lies in a critique of the primacy of rational thought, cognitive skills and verbal discussion within democratic education, and an exploration of the potential role of the arts and art education in challenging this. Specifically, the article argues that there has been an affective and corporeal deficit in democratic education, and that some forms of gallery education are well placed to address this. Although the data discussed derive from a particular time and place (the UK in the latter days of a government that rigorously pursued an agenda of social and economic inclusion through both education and cultural policy), they also have relevance beyond their immediate context, illuminating the nature and dynamics of the process of democratic learning, and its aesthetic and artistic dimensions. [ABSTRACT FROM AUTHOR]

Abstract: The central aim of this study is to evaluate the effectiveness of the recently revised elementary curriculum for arts education in Iran. The study employed an educational criticism method and was conducted in two elementary schools. Data were collected by observation, semi‐structured interviews and curriculum documents over a four‐month period. The research participants consisted of 12 professionals (teachers, coordinators and principals), and 30 students (8–12 year‐olds from different cultural backgrounds). According to the results of this study, the schools’ architecture and environment do not promote creativity, active participation and engagement in the learning process. The general and specific objectives, the content areas, the time allocated to the teaching of each area, teaching methods and assessment procedures have been clearly defined in the official curriculum documents for arts education. Nevertheless, the areas of painting and occasionally handcrafts are the content areas which are taught to students using direct methods of teaching and students’ performance is often evaluated by traditional tests. The study concludes that the current arts curriculum has not been successful, or not as successful as it was intended to be. The most common obstacle to effective arts teaching, however, is the lack of a place for arts within the school programme similar to that of science and mathematics. Lack of enough well‐trained teachers with an educational background in arts education is another obstacle that needs to be addressed in future revisions of the curriculum. [ABSTRACT FROM AUTHOR]

Abstract: This article reports on the understandings and practices of primary teachers in implementing the arts curriculum since the 2010 introduction of National Standards in Numeracy and Literacy within the New Zealand Education system. The ever‐mounting pressure on schools to perform to these standards has resulted in a reduction of emphasis and time allocation in the classroom to the arts. In numerous schools the arts have been marginalised to little more than that of decoration and marketing status. Data was collected using a questionnaire and individual interviews from 124 primary teachers within nine schools located in three geographic clusters. The large majority of these teachers indicated that art was not a priority, and that less time was spent on creating art works since the introduction of National Standards. The art that was taught tended to be integrated with other teaching areas. Teachers in referring to art were often referring to visual art which was the dominant art discipline. Professional development for staff in the arts was non‐existent and was never part of a teacher's professional appraisal. All aspects of the National Arts Curriculum were very rarely taught, with most teachers feeling ill prepared to implement the full arts curriculum. In classrooms where an art discipline was successful taught it was largely due to the passionate interest and prior involvement in the art by the individual teacher. [ABSTRACT FROM AUTHOR]

Children in all cultures readily engage in artistic activities, yet the arts (dance, drama, drawing, and music) have traditionally been marginal topics in the discipline of developmental science. We argue that developmental psychologists cannot afford to ignore such naturalistic activities that involve so many basic phenomena-attention, engagement, motivation, emotion regulation, understanding of others, and so on. Despite historical issues with research methodologies and overdrawn conclusions, a current wave of methodologically rigorous studies shows the depth of arts learning, as well as how arts engagement can be harnessed for transfer to other skills. Here, we present 21 exemplary research case studies, covering an age range of 18 months to 17 years old and discuss how the arts are no more difficult to study than other real-world developmental phenomena and deserve a thorough examination. [ABSTRACT FROM AUTHOR]