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The uneasy marriage of higher education and athletics can be seen through the conceptual lenses of former institution and National Collegiate Athletic Association (NCAA) President Myles Brand's Standard or Integrated View. The Standard View maintains that athletics serves as a business while the Integrated View argues that athletics should be appreciated as a form of education and art. Through these perspectives of athletics as a business, education, and art, this study surveyed faculty at one football bowl subdivision institution (n = 216) on their perceptions of athletics. Analyses demonstrated faculty perceptions were varied and contradictory as they noted athletics was simultaneously a business important for their institution, but also a detractor for higher education at large. Additionally, they perceived some developmental benefits of participation in athletics but still did not believe sports to be educational in nature. Implications for better understanding faculty perceptions of athletics while improving the education-sport marriage are discussed. [ABSTRACT FROM AUTHOR]

This article is derived from a presentation given during the Association of Arts Administration Educators conference in San Juan, Puerto Rico in May 2024. It contextualizes how an interinstitutional research partnership began among three colleagues, informed by trends in the field. A literature review provides an overview of artificial intelligence (AI) history and development, framing in the popular press, and its intersection with higher education. The majority of this article focuses on a review of AI policies at varying institutional levels, which seek to keep up with and ahead of this advancing technology, and are a primary contribution to the field of arts administration education. The policy review begins with international and national policies, followed by the authors' university and classroom policies. This is followed by a summary of audience interactions during the conference presentation. The conclusion concerns authors' changing perceptions of AI and calls for continuing an essential conversation and actions around the implications of AI, for higher education and arts administration policy, pedagogy, and practice. [ABSTRACT FROM AUTHOR]

This study explores the academic and social experience of international students in colleges in the United States of America. Specifically, the study focuses on colleges with a high percentage of international students as they represent diverse cultural backgrounds and contribute significantly to the campus environment. Data were collected from 30 participants (undergraduate students) across five focus group interviews and a thematic analysis was performed. For academic experience, four sub-themes emerged: relationship with professors, academic resources, liberal arts requirements; and class participation weightage. For social experience, four sub-themes emerged: role of student clubs and societies; inter-college collaborations; intercultural sensitivity; and religious/cultural events. Findings provide valuable implications on how colleges with a high population of international students can improve the academic and social experience of these students. [ABSTRACT FROM AUTHOR]

In the higher education institutions, "arts integration" as a teaching method refers to the integration of artistic practices and activities within general education courses. Arts integration is not only about teaching art as a subject, but rather, this technique integrates creative teachings, activities, and experiences into the subject matter that all students, regardless of their major, generally encounter. This research explores the impact and perceptions of students when it comes to the integration of arts in the general education course of higher education. The researchers used a descriptive-correlational research design that investigates the impact of integrating various art forms into the general education course or non-artistic subjects to recognize its potential to develop the students' holistic well-being. It highlights how arts may support more inclusive and engaging learning environments that embrace a diversity of intelligences and learning styles. A purposive sampling technique was used in data gathering because the respondents were all the teacher education students enrolled in Art Appreciation. In determining the significant difference in the perception of the respondents based on their demographic profile, the statistical tool used was t-test. The findings of the study reveals a high level of satisfaction with the teaching strategies employed in the Art Appreciation course, and the students have a positive perception of the impact of arts integration in their learning domains. Therefore, teachers and curriculum designers should include art-based instruction and assessments that allow students to freely express themselves while ensuring its alignment with the subject matter. Policymakers in higher education should promote arts integration, recognizing its role in enhancing student learning experiences, and overall academic performance. [ABSTRACT FROM AUTHOR]

Virtual reality (VR) technologies have proven to be effective teaching tools in higher education, particularly in arts education. Likewise, the analysis of the assessment that professors make of these technologies helps to understand their reception and to design strategies for their implementation in universities. In this work, quantitative research is carried out to analyze the perception of university arts professors on different technical and didactic aspects of virtual reality (VR), as well as its limitations and its future projection. Specifically, significant differences are identified in these evaluations according to the tenure (private or public) of the university where the professors teach. For this purpose, a validated questionnaire is used, which was responded by 291 arts professors from 13 different Latin American countries. The results show low levels of digital skills for the use of VR. There is also a strong gap between private and public universities with respect to the digital competence of arts professors and their assessment of VR. It is suggested that universities increase the necessary equipment to integrate VR technology in arts education, as well as carry out specific faculty training sessions on the use of VR technologies and their integration into arts education. [ABSTRACT FROM AUTHOR]

The Interdisciplinary Method of Musical Literacy, Education and Artistic Awareness (MILMESA) aims to provide a holistic and interdisciplinary approach to education, integrating four artistic expressions (theatre, music, visual arts and physical/motor expression) essential for the development of skills such as creativity, expression and improvisation in a school context. The method aims to prepare adults who are in training for future practices aimed at children, young people or adults. MILMESA integrates 129 activities, classified by degree of difficulty, to improve personal and artistic skills, foster innovation and creativity, improve interaction and sociability, promote concentration and active listening, and improve rhythm, repetition, movement skills, expression and improvisation. A non-experimental methodology was chosen in which post facto questionnaire interviews were applied to 350 training participants. This method is a valuable tool for those looking to expand their artistic knowledge, as well as preparing them to educate and raise awareness among future generations. They also demonstrate the development of interdisciplinary artistic skills and practices in an educational context, the integral development of the individual, the connection and interaction between the arts and other areas of knowledge, and the improvement of skills in individuals who are training for future roles as teachers or artists. [ABSTRACT FROM AUTHOR]

Departments of Arts and Humanities globally face increasing financial threat from falling enrolment, rising costs, and 'strategic realignment' at university level. In the UK, in particular, cuts to the Arts and Humanities sector are becoming endemic, with complex ramifications for prospective students as well as academic and professional staff. In light of these structural and ideological challenges, this paper proposes a revisiting of the philosophical work of Richard Rorty. Rorty has argued compellingly for the morally educative importance of the arts as well as the distinct gift of a liberal education more generally. Ultimately, however, we argue that Rorty's liberal ideals are radically threatened in the present context of neoliberalism and that they have been particularly problematised in philosophical and literary work since Rorty's death in 2007. The theoretical writings of Lauren Berlant as well as the literary fiction of Nicole Flattery and Natasha Brown are our key exemplars here. Through our analysis of these texts, we interrogate what we might desire of education beyond the liberal paradigm underpinning Rorty's thought; and we sketch a framework for the Arts and Humanities perhaps more responsive to the crises of our contemporary age. [ABSTRACT FROM AUTHOR]

Generative AI refers specifically to a class of Artificial Intelligence models that use existing data to create new content that reflects the underlying patterns of real-world data. This contribution presents a study that aims to show what the current perception of arts educators and students of arts education is with regard to generative Artificial Intelligence. It is a qualitative research study using focus groups as a data collection technique in order to obtain an overview of the participating subjects. The research design consists of two phases: (1) generation of illustrations from prompts by students, professionals and a generative AI tool; and (2) focus groups with students (N = 5) and educators (N = 5) of artistic education. In general, the perception of educators and students coincides in the usefulness of generative AI as a tool to support the generation of illustrations. However, they agree that the human factor cannot be replaced by generative AI. The results obtained allow us to conclude that generative AI can be used as a motivating educational strategy for arts education. [ABSTRACT FROM AUTHOR]

This reflective piece considers the question 'What do you learn when you study creative subjects?'. The author draws on pedagogical theory and practice to explore how centring a curriculum around the act of 'making something new' informs student expectations and experiences within a creative arts education. It concludes by arguing that educators should embrace the restless tension between the neatness of an aligned curriculum and the messiness of learning to create opportunities for students to try the possibilities of things. In doing so, they can help students make connections during their education and navigate a complex, changing and uncertain world beyond their studies. [ABSTRACT FROM AUTHOR]

The following contribution is a written account of Jaana Erkkila-Hill's keynote lecture at the FORUM+ symposium The art school as an ecosystem: Future perspectives on higher arts education, co-organised with ARIA during the research festival ARTICULATE on 20 October 2023. The event also marked the launch of the FORUM+ October 2023 issue and new dossier "The art school as an ecosystem". [ABSTRACT FROM AUTHOR]

Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for 'becoming a work of art' through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Generative AI refers specifically to a class of Artificial Intelligence models that use existing data to create new content that reflects the underlying patterns of real-world data. This contribution presents a study that aims to show what the current perception of arts educators and students of arts education is with regard to generative Artificial Intelligence. It is a qualitative research study using focus groups as a data collection technique in order to obtain an overview of the participating subjects. The research design consists of two phases: (1) generation of illustrations from prompts by students, professionals and a generative AI tool; and (2) focus groups with students (N = 5) and educators (N = 5) of artistic education. In general, the perception of educators and students coincides in the usefulness of generative AI as a tool to support the generation of illustrations. However, they agree that the human factor cannot be replaced by generative AI. The results obtained allow us to conclude that generative AI can be used as a motivating educational strategy for arts education.

Recent research carried out in various fields of knowledge have led to significant results, which are also decisively imposed in the sphere of the arts. These contributions expand not only the area of artistic practices (new means of artistic production are established), but also the range of approaches from art theory, related to these practices. Our study illustrates this fact through a review of the scientific literature: articles, specialized publications, monographs and programmatic documents of some relevant institutions. The complexity of the information constellation in which the practice and theory of art are circumscribed, in the recent period, is thus highlighted, which necessarily leads to new specific requirements regarding the instructional design in the field of arts higher education. [ABSTRACT FROM AUTHOR]

This study aimed to trace the 2015 to 2019 MAME graduates in the College of Teacher Education for Graduate Studies of the University of Northern Philippines in terms of their personal profile, their workrelated profile before and after taking their master's degree, reasons of taking up the program, competency level before and after taking the program, appraisal of the most useful courses offered in the program, evaluation on the contribution of the program to their personal and professional growth and assessment on the features of the program and suggestions of how to improve the program. The researcher utilized mixed method of research. The subjects were the MAME graduates, and a questionnaire and open-ended questions were sent to them thru various online flat forms. Based on the findings of the study, the following conclusions are derived: pursuing graduate studies chooses no sex, civil status or age as long as there is a will to improve one's self; students have math-related educational background and finished the program within the prescribed number of years; having master's degree could contribute greatly in landing a permanent teaching job in public schools; professional and personal growth and development is the strongest drive to pursue advance education; the program offers subjects that are useful which enhanced the teaching competencies of the graduates and consequently contribute to the holistic development of the graduates; and that there are areas needing improvement in the MAME program. [ABSTRACT FROM AUTHOR]

Higher education spaces are where ideas about citizenships, social norms, and values are mediated between state and youth citizens. In recent years, there has been a rise of new American-style liberal arts initiatives in East Asia, and yet little attention paid to the interface between liberal arts education and youth politics in this region. This article draws upon qualitative research conducted between 2017 and 2019 at two liberal arts universities in Shanghai and Singapore to examine how students fashion political subjectivities and meanings within the spaces that they live and learn in. It argues for a capacious conceptualisation of youth politics to analyse political subjectivities and sentiments as enmeshed in a relational field tied to wider-scale understandings of social movements and progressive ideals. To do so, conventional framings of universities as sites of political mobilisations need to be recast as sites of political citizenship experiments. [ABSTRACT FROM AUTHOR]

The purpose of this study is to examine the effects of cultural capital on arts consumption. We divide cultural capital into five types – arts education of infancy and childhood, adolescence and adulthood, arts-related volunteer work, and arts-related club – and focused on active and passive acquisition of such capital. We conduct an empirical analysis considering that the dependent variable is zero-inflated. Specifically, we conduct zero-inflated negative binomial regression to analyse the causal effect of cultural capital on arts consumption. In addition, Oaxaca decomposition with zero-inflated negative binomial regression is performed to compare the effectiveness of cultural capital. Our results show that consumption of cultural capital increases consumption of the arts. In particular, the effect of arts education was the highest in adulthood, indicating that voluntary acquisition is effective and the benefits from arts education are durable. Our research could provide insights for government organizations engaged in promotion of arts and inform policymaking. [ABSTRACT FROM AUTHOR]

Art in public space is fundamentally determined by who has access to the artworld. At the entrance to the artworld of today—the art academy—resides an ideal of global mobility that relates to cognitive capitalism and competitiveness but also to the repeating of rationales of white privilege and a hidden structural racism. By analysing how Higher Education in the Arts in Denmark awards "free" mobility and encourages internationalization, following the neoliberal European policies of the Bologna Process in their aim of competitiveness while at the same time having no official strategies in relation to racial diversity and recruitment, I find biopolitical lines of demarcation and structural racism within the foundational infrastructures of the Danish artworld. Based on the findings of my analysis of both educational policy documents and understandings of "fair" representation of BIPoCs in the arts in Denmark, I demonstrate how racial loneliness resides as an affective response to experiences of structural racism in the infrastructures of the arts. I suggest that racial loneliness is an interdependent affect and a product of educational documents, reforms and policies. This assumption is accompanied by the example of the artists' collective FCNN, stressing how BIPoC student Eliyah Mesayer is isolated and subjected to tokenism in the classroom of the art academy. Informed by the increasing number of separatist BIPoC collectives offering an ongoing infrastructural performance of being "too many", the article ends with a speculation on how to organize bodies otherwise in the infrastructures of the artworld by exceeding rationales of reasonable and adequate representability. [ABSTRACT FROM AUTHOR]

The construction of ecological civilization education for art education in China's colleges and universities is based on the ecological environment. After understanding the basic situation of students, it cultivates college students' artistic exercise and lifelong artistic consciousness. The development of college art education is based on the existing campus environment, with college teachers and students as the main participants. Based on the principles of education ecology, we understand better that the art education system for college students has never been a closed system. It is an open and interactive system. The ecological environment of art education has intertwined and complicated, and it is restricted by many ecological factors. The various problems in the development of college students' personality indicate that there are many problems in college students' art education. If we want to improve and solve the current problems in college students' art education, we must explore scientific and comprehensive art education strategies. This article proposes the construction of an ecological civilization education system in art education under the background of "Internet +" education, starting from the internal and external ecological environment, exploring college students' art education countermeasures, improving college students' art education problems, and promoting college students to develop a new type of healthy personality. [ABSTRACT FROM AUTHOR]

As the pandemic and associated global traumas of recent years continue to reverberate through creative arts education, contributors to this issue consider the pedagogical possibilities embedded in online and in-person learning, collaborative and individual modalities, reflective and dialogic experiences, and material and spatial experimentation – suggesting that this may be a generative moment for art, design and communication in higher education. [ABSTRACT FROM AUTHOR]

Ofsted, the inspection authority in England, has told schools to ensure that all students have access to cultural capital, taken as a canon of music, literature and art. In this paper, we trouble this guidance by analysing conversations with 1447 senior secondary students. The students reported that the arts offered considerable personal benefits, as well as creative self-expression (visual art) and vocational and networking skills (performing arts). By bringing Bourdieu to the dataset we offer a field analysis that shows how arts cultural capitals might follow the logics of the education field. We speculate that, despite the likelihood that these elite cultural capitals were not of equal value to all students, arts capitals and dispositions might support wider resistances to logics of practice in other fields. [ABSTRACT FROM AUTHOR]

Purpose: This study aims to contribute to the exploration of inter-disciplinary approaches in higher education for sustainability. It is a reflection on a case study linking students in the arts and sustainability science, through which the inter-disciplinary and problem-solving processes for solving a concrete sustainability challenge were explored. Design/methodology/approach: The case study featured a workshop with students from two educational programmes at Aalborg University, namely, Art and Technology and Environmental Management and Sustainability Science, the latter being an engineering programme and the former part of the humanities. Experience evaluation was based on participant observation, written feedback and the workshop facilitators' post-event reflections. Data analysis was based on multi-grounded theory, dialectically combining empirical data (through open coding) with relevant emergence theories. Notions of emergence were chosen because the supposed benefit of inter-disciplinarity is the emergence of novel solutions to complex problems. The study investigates the concrete conditions of emergence in educational inter-disciplinary settings. Findings: The workshop led to a successful experience, bringing an art-based approach together with sustainability science for arriving at solutions that neither of the two would have arrived at separately. Based on participant experiences and realisations, five "emergence concepts" are suggested as supportive learning criteria and conditions, namely, "knowledge expansion", "complementarity", "disciplinary self-reflection", "change of practice" and "play". Originality/value: The findings and emergence concepts can be an inspiration for creating an effective learning environment supporting the emergence of different forms of knowledge and solution concepts for solving sustainability challenges. [ABSTRACT FROM AUTHOR]

In 2021, York St John University and Mind the Gap collaborated to validate a Certificate in Higher Education (Cert HE) in the Performing Arts for learning disabled and autistic adults. This article presents context surrounding inclusive education, identifying the histories of ableism within assessment processes. We then discuss how we worked in consultation with learning disabled students to develop assessment criteria and processes that used language from the students as core definitions. We argue that through establishing inclusive arts education, recognised at degree-level, we can begin the process of enabling greater representation of learning disabled practitioners in the arts. [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]

In recent decades, the professional and artistic training of the emerging actor in the European area has required significant adjustments. Drama schools in Europe have had to respond positively to the introduction of the Bologna system, whose initial aim was to homogenize the university curriculum at European level. But we must keep in mind that these aspects are the outcome of intense transmutations of an evolving society. Under these circumstances, today's actor is no longer just a drama performer. The concept of his performance, be it artistic, is present in many fields of activity. The show is everywhere; it went out of the theater hall to be present in the street, at rock concerts, at fashion shows, at all type of events, including sports. Today’s actor is asked to perform in theater halls, but also in cinemas, or media, to get acquainted with new technologies. From this perspective, should drama schools train actors for all these fields or only for drama? Should there be a separate training for each of these categories or the initial, basic drama training responds to the new skills required of the young actor? At European level, there is a need for pedagogical cooperation in arts high education. Drama schools strive to expand their teaching methods panel, trying to facilitate the coexistence of Stanslavskian methods with the artistic practices of Brecht, Grotowski, Eugenio Barba. The phenomenon itself is accelerated by the development of international trade. Of course, there are international festivals and events that allow drama schools to present their creations, research in the field of drama pedagogy and to give students-actors of different nationalities the knowledge of various artistic traditions. Today, exchanges of students and teachers take place regularly within the European Erasmus + program. Whether we are referring to Western Europe or Eastern Europe, we find that the rapid evolution of society is naturally reflected in the emergence of new drama forms. This makes the mission of drama schools difficult. It seems complicated, but it may not be impossible to predict the type of artistic training that an emerging actor should receive in an arts high education institution. Moreover, the clear boundaries between the various fields are fading. Contemporary artists like to explore territories bordering the artistic fields, using different methods and techniques, and multidisciplinary is a predominant feature of our era. The educational institutions that train future actors prove difficulties to change their curriculum taking into account the rapid metamorphosis of reality. Could interdisciplinary intervene in this context as an alternative solution that brings together both defining and specific aspects of arts pedagogy? The answer could be affirmative provided that it represents an opening and it is understood as a means of integrating and sustaining the dynamics of each field of activity taught for the training of the future actor. [ABSTRACT FROM AUTHOR]

Copyright of Historia de la Educacion is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Hungarian government prescribed distance learning for higher education institutions due to the spread of the coronavirus epidemic which was challenging at the Hungarian Dance Academy. The development of movement skills was difficult without personal presence, no common e-learning practice had existed in the institution before the pandemic. In the research we explored the distance learning and teaching practices developed at the theoretical and dance courses at the Hungarian Dance Academy, as well as the experiences of both teachers and students during the 3 and a half months. Instructors (n=65) and students (n=240) completed an online questionnaire on digital tool use and course management, furthermore 13 of the responding instructors also shared their experiences in a structured interview. Most of the instructors welcomed everything they could benefit from distance learning (e.g. creating new curricula, learning about new digital tools, improving relationships with students), but understandably, online distance learning of dance was considered impossible by many. Some students enjoyed distance learning because of their own schedule and the convenience of their home, but there were many critical remarks about its methods.

Art design education contributes immensely to social and economic development. To train art designers that suit social development and industrial needs, colleges must substantially reform their art design education. From the perspective of cultivating the core literacy, this paper carries out a survey on the current state of art design education in colleges. The survey reveals the following problems of art design education in Chinese colleges: the students have a poor cultural literacy, a low interest in professional learning, and a weak understanding of the core literacy; the faculty has an unreasonable structure, an overall weak competence, a monotonous teaching method, and the detachment of theories from practices. Based on the survey results, a hybrid learning mode was derived from project-based learning, and the application effect of the proposed mode in art design education was analyzed from the perspective of the cultivation of core literacy. The results show that, the proposed learning mode can effectively enhance teaching quality, and improve the core literacy and professional ability of students. The research provides a valuable theoretical and practical reference for the reform of art design education. [ABSTRACT FROM AUTHOR]

Within the last 10 years, the implementation of the Bologna Process in higher education in the arts has introduced a time-based economy - the counting of ECTS points. Through a reading of protocols of self-study in the bachelor programme Dance, Context, Choreography at the Inter-University Centre of Dance in Berlin, I will show how art students are trained in accounting for leisure time as study time, for life as work. An institutionalised meritocracy is thus turning hours outside art school into ECTS points. In this note, I analyse the performativity in the protocols of the students. Protocolling working hours outside the curriculum with extreme accuracy, the students are led into what I call a meritocratic paradox: they are complicit with neoliberalism when they subject themselves to counting hours 24/7, and at the same time, some of them exercise a feminist critique of the same neoliberal economisation when they over-perform the imperative of calculation and collect grey-zone hours in their life as work. Deciphering the performativity of the protocols of self-study, I demonstrate how the infrastructural demands of meritocracy from the Bologna Process change, challenge and politicise the temporality of artistic work and the production of artistic value during artistic education. [ABSTRACT FROM AUTHOR]

As part of being named one of ten emerging leaders in engineering education, Arizona State University (ASU) was invited to participate in the MIT-Olin Colloquium on the Global State of the Art in Engineering Education held in Boston in April 2019. As a group we shared innovations at our respective institutions and identified opportunities to collaborate to continue to advance the state of engineering education. In response to the guidelines for this special issue, this paper provides details on a few representative ASU achievements to date, and identifies opportunities for the continued evolution of the Fulton Schools of Engineering. [ABSTRACT FROM AUTHOR]

This paper uses a macro, meso- and micro-level analysis of employability best practice in higher education institutions (HEIs) to question how employability is being conceived within higher education settings alongside academic goals. Thematic analysis is applied to: a range of academic articles and papers containing HEI employability best practice case studies (macro-level); papers from the 2016 Swansea University College of Arts and Humanities' Employability Conference (meso-level); and Swansea University Department of Media and Communication employability activities from 2013 to 2018 (micro-level). The results are visualised as an ontology of higher education employability, which has the notion of 'entrepreneurial spirit' at the centre. The paper finds that embedding an entrepreneurial approach can help drive innovation in subject-level teaching in a way which can enhance, rather than inhibit, critical academic enquiry. [ABSTRACT FROM AUTHOR]

The raison d'être of the humanities is widely held to reside in its unique ability to generate critical thinking and critical thinkers. But what is "critical thinking?" Is it a generalized mode of reasoning or a form of political critique? How does it relate to discipline-specific practices of scholarly pursuit? How does it relate to discourses of "post-truth" and "alternative facts"? How is it best taught? This essay explores these issues via a case study of conceptualizations of critical thinking among cinema scholars at Stockholm University, whose views are interpreted against the backdrop of (a) debates about the value of the humanities; (b) higher education scholarship on critical thinking; and (c) the legacy of certain disciplinary traditions within cinema studies, especially the paradigms of "post-theory" and "political modernism." The interviews attest to the persistence of critical thinking as a fundamental, yet highly elusive, concept to higher education in the arts and humanities. [ABSTRACT FROM AUTHOR]

Many universities in Australia and internationally now offer education degrees entirely online, without any requirement for face-to-face learning on university campuses. The transition to online learning has occurred rapidly, and has had particularly strong uptake in Initial Teacher Education. This paper examines the perspectives and experiences of eight academics in Australian higher education who teach creative arts courses to pre-service teachers via online modes of delivery. Research indicates that insufficient opportunities have existed for some time in adequately providing opportunities to pre-service teachers to develop the arts teaching and learning skills, and these concerns are potentially compounded in online contexts which do not readily permit the interpersonal, kinaesthetic and collaborative engagement with arts-specific materials and processes that are usually central to creative arts learning. Using in-depth interviews and thematic analysis, the researcher sought to understand the individual perspectives and experiences of arts academics who now deliver creative arts learning in teacher education online. The research reveals that arts learning must be significantly re-imagined for the online learner, that the potential to do this can be realised, but that additional support will be required to ensure this is a consistent reality. [ABSTRACT FROM AUTHOR]

The article presents the structuring of effective didactic forms of teaching the fine art's students in the system of higher art education. The features of various types of lectures, seminars, laboratory and individual lessons, master classes and creative workshops, practices and forms of control, taking into account the specifics of art education, are characterized. The leading types of didactic forms of organization of fine arts teaching are traditional training sessions: lecture, seminar, laboratory practicals, review session. The second group consists of individual sessions, which are designed to take into account the peculiarity of working with students under an individual program of increased complexity level, as well as with students who need special educational support. The third group of didactic forms of organizing the fine arts teaching in higher educational establishments is the students' self-study work. The fourth group is practical training, aimed at forming practical artistic skills and abilities of students. The main type of such training in higher art educational establishments is plein air practical work. The fifth group of didactic forms includes control measures aimed at diagnosing the results of learning, providing feedback between the teacher and a student. Relationships have been established with the relevant didactic methods, which make it possible to achieve competencies and program results determined by the standard of higher education. The proposed structure of didactic forms of teaching fine art in higher educational establishments allows a teacher to choose the most effective ones depending on certain program results and competences of a particular educational component, to design a dynamic course of educational process taking into account the peculiarities of perception of educational information by modern youth. Its introduction into teaching practice will ensure both mastering of basic artistic knowledge and skills of students, and solving the problems of the training individualization and formation of the creative activity experience of future artists. Further study of the researched problem is expedient in the aspect of the analysis of pedagogical potential of distance forms of fine arts teaching in the context of the post covid world. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Triple Helix is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Competency models act as a competency management platform and consist of mapping knowledge, skills, and attitudes. Purpose: To analyze, qualitatively, the competencies assessment instruments in Culinary Arts higher education present in literature. Methods: The study consists of a systematic literature review from the EBSCO platform, identifying the competency models used in the culinary arts. The models were analyzed concerning their foundation, application, population, data treatment, and the main results obtained. Results: Two seminal models were identified for the study of competences: Tas and Sandwith's competency dimension models. These models have been applied in five studies in four countries. Gersh identified methodological progress regarding the two models, realizing that both were complimentary to each other, so he presented a fusion between the two seminal models. The main findings in the studies are that the techniques, leadership, and interpersonal relationship are the most relevant competencies in the culinary arts. [ABSTRACT FROM AUTHOR]

This article considers how intergenerational arts can help support the resilience of people living with dementia. Theorising a moment of process from Magic Me's Reflections of Stepney, it analyses how art facilitators help a child and care home resident to overcome the challenge of relating and create a performance together. It particularly considers the possibilities offered by touch as a way for participants to connect. It argues that a creative process which focuses on a physical relationship can help facilitate resilient responses in the co-creation of meaningful relationships between participants living with and without dementia. [ABSTRACT FROM AUTHOR]

Copyright of Journal of College of Education / Wasit is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the value of Humanities, Arts and Social Sciences (HASS) candidates' prior industry networks and experiences as they intersect with doctoral study, as assessed by a group of HASS PhD graduates. While the phenomenon of industry engagement in PhDs across HASS and STEM is widely recognised, the value of these relationships to the PhD experience is less understood. This is particularly the case in HASS PhDs given the opportunities afforded to this predominantly mature-aged cohort of pre-existing professional networks. In our previous work on this topic, we showed that engaging with industry throughout the HASS PhD research lifecycle is widespread, and that networks may have their genesis prior to commencement and persist into careers post-graduation. In this article, we subject these networks to finer-grained analysis. Based on 16 in-depth interviews, we investigate the value HASS PhD graduates ascribe to their industry networks pre-, during and post-graduation. Our analysis suggests industry engagement during the PhD contributes value in two key ways: by facilitating candidate learning, in the form of research design and data collection related activities, and for knowledge exchange. These insights are further enhanced by development of a novel analytical model that measures the extensiveness, or continuity, of industry engagement across the PhD lifecycle. Comparative analysis reveals a correlation between enduring industry engagement and academic careers post-graduation, suggesting additional value in the form of a highly industry integrated HASS academic labour force. Our findings suggest HASS PhDs can function as an important and hitherto under-recognised industry engagement vector, contributing added value to the research process with multiple potential beneficiaries. [ABSTRACT FROM AUTHOR]

The aim of this article is two-fold. Firstly, it identifies and maps out a new presence in race discourse in the UK arts and higher education, under the heading of 'US Black Critical Thought'. Secondly, it seeks to situate 'US Black Critical Thought' and its growing impact upon intellectual and aesthetic discourses on race in the UK through the lens of the longer-term project of 'Black British Cultural Studies'. The article traces the formation and eventual dissolving of 'Black British Cultural Studies' from the early 1980s to the late 1990s, and suggests that 'US Black Critical Thought' has energised a cohort of younger thinkers and artists in Britain, following a period where the intellectual left side-lined race as a serious category of theoretical or critical analysis. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Elementary Education / Revija za Elementarno Izobraževanje is the property of University of Maribor, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the conflicts engendered during the artist's formation due to repeated submission to assessment in formal creative arts education. In a comparative qualitative study of two visuals arts practice undergraduate curricula, the underlying interpretative approaches to intentionality were uncovered to comprehend the impact of the hidden curriculum at those higher education institutions. Across both sites, nominal authenticity emerged consistently as the most valued criterion which artiststudents referenced in their self-assessments of the success and quality of their artworks, and of their identities as members of the professional community of practice. This criterion for self-assessment ran parallel to, and at times against, the persistent disregard of the artist-students' actual intentionality as a valid referent within the summative assessment practices of both the academic institutions studied. Within this paper, constructions of creativity, authorship and the relationship of these to interpretation, set the scene for exploring the traces, slippages and nuances between the discourses of authenticity which emerged. Drawing from empirical qualitative data generated from artist-students, artist-academics, curriculum documentation and observations of assessment, the contexts around these emerging discourses are discussed, and their significance for the novice artist's experience, and the agency of artist-teachers, explored. [ABSTRACT FROM AUTHOR]

The article proofs the importance of the notion "paradigmatic methodologyi± use in scientific and pedagogical thesaurus, as well the expediency to define it as a science on the structure, principals, ideals, norms, methods and tools of the organization of strict and started specialists. vocational training varieties. They usually aimed at the effectiveness increasing of higher educational system functioning in globalized information society. This definition is the basis for the conceptualization of the paradigmatic methodology of fine arts specialists training development and implementation of the model; its functioning in educatuinal process provides the effectiveness of students. operative and volitional readiness for fine arts training during their lives. According to the criteria and indicators of activity of educational and creative actions and willpower to art education in the course of ascertaining and final experiments, the quantitative and qualitative affiliation of would-be artists to the levels of professional, basic and primary levels of the given readiness. The number of students belonging to its professional level of experimental group students, comparing with ascertained data, was stated to be three times increased and the primary . about two times reduced. The number of control group students of professional level has been more than twice increased, and of primary level . more than half as much less. On the correspondence with this model in higher educational system it is to design the vocational training of specialists of other qualifications to the purpose, but one need to take into account its specificity. [ABSTRACT FROM AUTHOR]

The year 2020 will be remembered for Covid-19 -- the period of 'forced' critical reflection upon ourselves, others and the society around us. This paper presents the positive and negative practices during this period by focusing on the educational system at the tertiary level where traditional teaching was substituted by e-learning. Based on personal experience and pilot research conducted with the students of South Slavic Studies, the paper further discusses the advantages and disadvantages of e-learning, paying special attention to the arts. Finally, it is concluded that e-learning will remain one of the educational approaches in future. [ABSTRACT FROM AUTHOR]