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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 paper seeks to initiate a theory of "imaginative dialogues" by articulating four dialogical principles that enable such a dialogue to occur. It is part of a larger project that takes the Socratic dialogue, a widely utilized conversation technique in philosophy education, as a starting point and aims to reinterpret it by shifting emphasis to the pre-reflective, pre-linguistic, and multimodal aspects of dialogues, involving both their verbal and embodied dimensions. To integrate the verbal dimensions of a dialogue with its more elusive embodied dimensions, the paper will examine the notion 'dialogue' from the perspective of two different strategies. The first strategy chiefly focuses on the dialogic encounter. The 'in-between' of this dialogic encounter enables something to emerge that transcends the individual perspective of the speakers involved. The second strategy is primarily concerned with internal differentiation. The minor differences that constitute this internal differentiation, differentiate a dialogue from within. These strategies are not mutually exclusive but indicate a variation in starting point and orientation. This paper proposes to combine these two strategies by linking accounts of the productive moments in verbal dialogues to an account of the imaginative potential of embodied dialogues. This will enable the articulation of four dialogical principles (derived from Lev Yakubinsky, Oswald Ducrot, Martin Buber, and Gottfried Wilhelm Leibniz) through which an imaginative dialogue can proceed. [ABSTRACT FROM AUTHOR]

It is widely argued that the arts have a range of cultural, economic, and educational benefits. However, under state austerity arts curricula are devalued in favour of industry skills. To address this gap in arts education, a new type of student focussed informal arts engagement program has emerged. This article draws on a qualitative study of disadvantaged Australian secondary students' experience of an arts engagement program and explores their experiences through Bourdieusian concepts. We observe how students' homologous position allowed an immediate appreciation of the arts and note how their habitus frame the arts as 'work' and as a technical accomplishment. An illusio in the arts as career emerged from these understandings. We suggest informal arts programs act as a collective gift within a weak cycle of reciprocity, but without expanded in-school opportunities fall short in offering students new ways of understanding the place and value of the arts. [ABSTRACT FROM AUTHOR]

'Arts-in-education' and teacher-artist partnership have been a key focus of recent policy in Irish arts education. However, recent research studies have highlighted how at times these partnerships can be problematic and teachers can become sidelined when such interventions occur. This article offers a new perspective on such research by exploring how the language of policy texts and the broader neoliberal discourse in which they are framed may impact the positioning of teachers and thus their possibilities for practice within partnerships. Using a critical policy lens, this article deconstructs the policy texts that have embedded 'arts-in-education' practice in Ireland and highlights some of the hidden narratives which have positioned the teacher as 'other' within Irish arts education policy. In doing so, it aims to illuminate the process of 'othering' within policy for researchers, policy-makers and teachers, and outline the potential implications of such positioning for the provision of arts education in primary schools. [ABSTRACT FROM AUTHOR]

This article explores the adaptation of arts education for online learning environments in Higher Education institutions, focusing on preserving the experiential nature and studio culture while addressing socially engaged arts education and sustainability topics. Using the "Arts-in-a-box" methodology developed within the Critical ARts Education for Sustainable Societies (CARE/SS) Erasmus+ European-funded project (2022–2024), two distance learning teacher training courses were analyzed qualitatively. The findings reveal that the methodology successfully recreated essential aspects of studio culture, fostering deep engagement, critical dialog, and creative inquiry in virtual settings. Participants reported transformative learning experiences, highlighting the methodology's effectiveness in overcoming the experiential barriers in online arts education and promoting socially engaged arts for sustainable societies. The study identifies effective strategies for building community and enabling hands-on art-making in online environments, such as live workshops, curated art material packages, and digital tools for sharing and reflection. These strategies allowed participants to connect theory with practice meaningfully, promoting a sense of agency in applying socially engaged arts and sustainability themes in their professional contexts. By bridging the experiential gaps of online learning, this study offers a framework for educators seeking to adapt arts education to digital platforms while preserving its core pedagogical features and fostering societal impact. [ABSTRACT FROM AUTHOR]

Research indicates that students with intellectual disability (ID) frequently engage in off-task and disruptive behaviors, which may lead to the exclusion of these students from general education classrooms and school dropouts. In the current study, researchers implemented self-monitoring to improve the on-task behaviors of four participants with ID in inclusive classrooms in Turkey. A concurrent multiple-baseline design across participants was used. Self-monitoring was implemented across three settings (i.e., Turkish-language art, math, social studies), and generalization data were collected in English-language art classes. Additionally, an average of 16-week maintenance data were collected from all the intervention settings. Results of this study indicated that the efficacy of self-monitoring in improving on-task behaviors was immediate, generalized across settings, and maintained over a long time period (i.e., 16 weeks). Implications for practice are discussed. [ABSTRACT FROM AUTHOR]

Guyanese artist Stanley Greaves (1934–present) stands among the Caribbean's leading creative figures, with a diverse production stretching across seven decades and incorporating painting, sculpture, and illustration, alongside poetry and music. His career encompasses associations with many of Guyana's major cultural personalities and movements, including artist ER Burrowes and the Working People's Art Class, novelists Wilson Harris and Edgar Mittelholzer, and poet Martin Carter. Despite its significance, his work attracts little analysis outside the Caribbean. This essay provides an extended investigation into one of Greaves's most important and personal paintings, Old Time String Band (1977), through the overlapping thematics of sound, vision and memory. Based on extensive correspondence with Greaves, it explores the working class foundations of his creative practices across sonic, visual and material spheres, using memory as a primary tool to illuminate essential cross-overs and transnational resonances within Guyana's artistic and musical cultures from pre-Independence to postcolonial eras. [ABSTRACT FROM AUTHOR]

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]

Diminishing audiences is a theme of recent industry news articles announcing pauses and closures of some of the country's most prestigious regional theatres often citing COVID-19 as the determining factor. While the pandemic has certainly brought audience decline to a head decades of diminished arts education and the prioritizing of profit over community engagement have exacerbated the falling-off. What lessons can theatre departments and training programs take from this scenario? This article outlines a pedagogy of audience development embedded in early arts education and identifies six attributes for community-engaged learning. Audience development is clearly a priority for ensuring that our venues are full and current students have an industry to graduate into. [ABSTRACT FROM AUTHOR]

The article highlights the Soul Art program of Fairfield Yabantu, a nonprofit antiracism organization in Connecticut that sponsors a youth group for refugee children, that empowers refugee children to share their stories. It discusses the experiences of refugee students in schools, trauma-informed practices, and the limited access of minority students to cultural institutions and arts education. It describes activities for children such as artistic explorations, pop-up art show and reflections.

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]

Machine learning and deep learning-based techniques are now widely used to identify and diagnose various diseases. However, getting a sufficient data for these machine learning models is difficult, and usually collected data is unbalanced i.e. less number of instances with disease class and a large number of classes without the disease. These imbalanced data cause poor performance of the classifier in the detection of minority or disease classes. To address this class imbalance problem for medical data we have applied 17 different class imbalance handling techniques on four publically available datasets with Random forest as a base classifier. The comprehensive review covering the time frame of 1990 to 2023 is also done on "Class imbalance handling techniques" to gather insights using VOSviewer software. Performances of different class imbalance handling techniques are statistically evaluated and impact of different disease datasets on the prediction performance is also statistically assessed. Two novel techniques Genetic Algorithm-Cost sensitive-Deep neural network(GA-CS-DNN) and Class imbalance handling technique-Genetic Algorithm-Deep neural Network(CIH-GA-DNN)are proposed for handling class imbalance problems. Performances of proposed techniques are compared with other state of art class imbalance handling techniques and obtained results showed that OnesidedSelection outperformed all other techniques. A statistical test further demonstrated that OnesidedSelection performs differently than SMOTENN. Significant statistical differences in illness prediction can be seen between the kidney and diabetes, prostate and kidney, and kidney and heart datasets when compared pair-wise. [ABSTRACT FROM AUTHOR]

Drama learning is helpful for English speaking, however, few studies provided students with opportunities to practice drama conversations individually. This study proposed a Context-Awareness Smart Learning Mechanism (CASLM) and integrated into SmartVpen that consisted of context-aware learning content, context-aware input assistance, oral recognition feedback, peer cooperative learning, and smart conversation robot. The participants were 68 eighth grade-students divided into three groups: an experimental group (EG) who used SmartVpen, a control group 1 (CG1) who used typical camera and voice recorder, and a control group 2 (CG2) who used papers and pencils. The results showed the EG outperformed the other groups concerning oral and conversational skills, which indicated the use of SmartVpen had significant effects in both English oral speaking and conversational skills. Additionally, the number of time to complete conversation practices can predict students' oral performance by 30%. Furthermore, the results also showed the EG tend to practice drama conversations more frequently than the CG1, which demonstrated practicing English drama conversations using SmartVpen can effectively improve students' learning motivation. Thus, we suggested English conversations practice activities should be conducted in authentic context with SmartVpen to support students' speaking and facilitate them to apply what they learned in real-life situations. [ABSTRACT FROM AUTHOR]

The purpose of this study was to conduct an evaluation of the pilot program of the Turnaround Arts reform using a comparative interrupted time series design. Because the only existing evaluation of the Turnaround Arts pilot program lacks clarity and transparency, reanalyzing this program is important to understand the effects of the initiative. I created a unique dataset with nine variables to specifically evaluate the achievement outcomes of the pilot schools, which I paired with similarly matched control schools. Achievement measures included average math and reading language arts (RLA) percent proficient scores for each of the schools from 2010 to 2014 and were collected from the Stanford Education Data Archive. My results indicated that the original Turnaround Arts reform had no statistically significant impacts on the pilot schools achievement measures, an important link in the initiatives theory of action. These results support previous music education literature that found no positive causal effects between music education and non-music achievement scores. School music and arts programs are important for providing children with a well-rounded education; however, justifying the use of arts education for non-arts gains can undermine high-quality arts program development. [ABSTRACT FROM AUTHOR]

There is scant evidence on the level of arts education available in U.S. public schools and how this has changed over time. In this paper, I present new evidence on broad trends in arts education in U.S. public schools from 1988 through 2018 using nationally representative data from the Schools and Staffing Survey (SASS) and the National Teachers and Principals Survey (NTPS) and administrative data from North Carolina. Both the SASS/NTPS and North Carolina data cover several school years after the Every Student Succeeds Act was passed in 2015, which may have impacted arts education. I first calculate the percentage of full-time teachers whose main teaching assignment is in the arts. In the aggregate, about 5.5% of public school teachers are arts teachers, and this has been stable for decades. There are substantial regional differences that have also changed little. I also find substantial and persistent differences by school characteristics: Schools with higher percentages of both Black, Indigenous, and people of color (BIPOC) and low-income students consistently have a lower percentage of full-time arts teachers than other schools. I also examine of school-level and student-level trends in arts access using administrative data from North Carolina from 1998–2013. I find narrowing gaps in the presence of licensed art teachers between low-performing schools and other schools, and high-BIPOC schools and other schools. I also assess access to the arts at the student level from 2007–2018. I find narrowing gaps in arts enrollment between White students and Black and Hispanic students, consistent with the school-level trends I report. This descriptive evidence from both national and North Carolina data improves our understanding of how arts have been prioritized by schools in recent decades and highlights gaps in access students have had to the arts over time. [ABSTRACT FROM AUTHOR]

This article argues that the last three decades of school improvement policies have progressively limited the places and arguments created for arts education in public schools. The result has been a steady marginalization of the arts in the work of school improvement, an exacerbation of opportunity gaps related to access to arts education, and a small window of opportunity to push back against what has become a cycle of narrowing and layering demands on literacy and mathematics to the exclusion of all other areas. As the standards, accountability, and competition movements have led toward increasing privatization and turn toward private industry to solve the problems of public schooling, arts education continues to be marginalized by seeming to require outside intervention rather than intensive internal solutions. I conclude with a discussion of the policy strategies that might reposition arts education within current trends in education policy. [ABSTRACT FROM AUTHOR]

Schools in the United States have encountered substantial cuts to arts education, prompting them to partner with arts organizations to provide arts learning opportunities. Arts education advocates see potential benefits and drawbacks to these arrangements. While they can provide schools with valuable resources, such arrangements could further reduce the status and oversight of the arts in schools by outsourcing to external providers. One strategy that may provide benefits without these potential drawbacks is the facilitation of partnerships through multisector collaborations. From our research in Houston, we find that multisector collaborations can be effective at improving student arts access through partnerships that address schools' needs, while also helping schools secure arts resources and facilitating efforts that are more mutually beneficial. [ABSTRACT FROM AUTHOR]

The purpose of this exploratory multiple-case study was (1) to develop an understanding of how charter management organizations (CMOs) operating schools in New York City (NYC) during the 2021–2022 academic year developed, promoted, and sustained arts programming, and (2) to explore the role of the network-level arts director. Given the desire to understand network-level arts support provided by CMOs in detail and in the context of how that support functions contemporarily and in the real world, an exploratory multiple-case study method with an embedded design was situated as the preferred mode of inquiry. Within the research design, the quintain – or phenomenon studied across cases – was the support provided by CMOs at the network level to arts education programming at the school level. The embedded units of analysis for each case included a brief questionnaire completed by the network-level arts director, a semi-structured interview with the network-level arts director, and the documentation publicly available about arts education within the CMO (e.g. how the CMO's website positioned arts education offerings within the network). Data was collected during March–May 2022 in NYC. The first theme from the cross-case analysis involved the strategic vision-setting and on-the-ground implementation, which highlighted the potential disconnects that could occur between what was supposed to be happening within arts education (in the vision) and what was actually happening within arts education (on the ground) regardless of whether arts were considered "core" or "noncore" in a given network. The importance of the balance between autonomy and prescription provided to teachers and expansion, capacity-building, and vertical alignment also emerged as themes. In addition to shedding light on network-level practices and policies that support arts programming in schools and network-level arts directors' roles within this support, several specific implications are provided for theory, practice, and future research alike. [ABSTRACT FROM AUTHOR]

Globalisation has significantly influenced preschool education around the world, including Hong Kong, where the official curriculum framework has recently integrated the Western notion of creativity as part of arts education, forming a new learning area: Arts and Creativity. The purpose of this study was to investigate how Hong Kong preschool stakeholders perceived Arts and Creativity and its viability in practice. We interviewed 20 teachers, 10 principals, and 20 teacher educators specialising in arts education (N = 50). Descriptive statistics and thematic analysis were used. Findings showed that Hong Kong preschool stakeholders: (1) perceived most Western pedagogical characteristics as important but not fully viable in the local context; (2) expressed that children's arts creativity is fostered from a low/null to a moderate extent, due to constraints such as parental demands, time, and resources; (3) suggested strategies to maximise children's arts creativity focusing on curricular amendments, parental education, teacher preparation, and societal changes at large. We conclude that Arts and Creativity is not perceived to be implemented in accordance to the official curriculum framework. The study reveals the need to 'glocalize' this learning area in the Hong Kong context. Implications for moving forward in arts creativity preschool education are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Contemporary Educational Studies / Sodobna Pedagogika is the property of Association of Slovenian Educationalists 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 Journal of Contemporary Educational Studies / Sodobna Pedagogika is the property of Association of Slovenian Educationalists 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 Journal of Modern Science is the property of Alcide De Gasperi University of Euroregional Economy 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 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]

Developing student employability is a key strategy within institutions of higher education, particularly for students in creative industries where labour market supply has outpaced employer demand. Existing literature shows that activities that promote communities of practice offer clear employability benefits for students. However, such activities are often centred within university curriculum or driven by career development units with limited student engagement. This article considers an alternative approach, an academically-supported career community delivered as an extracurricular activity within an arts and cultural management graduate program at the University of Melbourne. Drawing on program metrics and an anonymous survey of participants in the program's pilot iteration, we find evidence of a flexible career community built around the intelligent career theory tenets of knowing how and knowing whom, in which participants experienced positive and discipline-specific impacts related to employability and increased self-confidence in approaching the arts and cultural labour market. [ABSTRACT FROM AUTHOR]

This submission explores the concept of aesthetic justice pedagogy, and advocates on behalf of it. In contrast to aesthetic injustice, which denotes any harm done to a person's aesthetic capacities, aesthetic justice pedagogy aims at facilitating the development of students' imagination, perception, and feelings, wherein narrative and story-making are prime locations to contest coloniality and oppression. We emphasize the practice of this philosophy, refusing to see it as only as metaphor or theory. In our attempt to build a praxis of philosophy, education, and art, we lean upon diverse thinkers such as Augusto Boal, John Dewey, Paulo Freire, and Ursula K. Le Guin. We maintain that aesthetic justice pedagogy requires spaces of liberation whereby initiates can practice, rehearse, and perform new realities and create counter-narratives through various modalities of story-writing. Boal's Aesthetics of the Oppressed, Dewey's understanding of dramatic rehearsal, Freire's work in Culture Circles, and Le Guin's critique of the father tongue combine art, re-storying, and imagination in ways that are unique to the traditional practices of arts education. We conclude by reemphasizing the liberatory ways in which practice (aesthetic work that is done alone), rehearsal (art work with others), and performance (imagination's accomplishment) come to identify unique qualities and practices of an aesthetic justice pedagogy. [ABSTRACT FROM AUTHOR]

This article describes the role of the culture coordinator in general formal education, in primary and secondary schools in the Netherlands. This article describes how they function in their professional environment and in contact with artists, providers of educational programs, and cultural institutions. In order to describe the everyday practice of the work of a coordinator and to bring to light the network in which they operate, a group of teachers kept a logbook for one year, describing per week what they did, and which issues concerned them most. The article concludes that the position of the coordinator is fragile, because of its dependency on personal relations with cultural institutions and as a result of the pressure from regular teaching tasks. [ABSTRACT FROM AUTHOR]

Generative Artificial Intelligence (GenAI) has arrived. Its impacts are touted to be profound on all aspects of society, including the arts and education. This article poses questions about the use of GenAI in drama education with the hope of inspiring a critical discussion that moves beyond binaries of acceptance or rejection of the technology. These questions go to the core of what defines our practice, our values and our purpose in the GenAI era. [ABSTRACT FROM AUTHOR]

This work aims to explore the application of an improved convolutional neural network (CNN) combined with Internet of Things (IoT) technology in art design education and teaching. The development of IoT technology has created new opportunities for art design education, while deep learning and improved CNN models can provide more accurate and effective tools for image processing and analysis. In order to enhance the effectiveness of art design teaching and students' creative expression, this work proposes an improved CNN model. In model construction, it increases the number of convolutional layers and neurons, and incorporates the batch normalization layer and dropout layer to enhance feature extraction capabilities and reduce overfitting. Besides, this work creates an experimental environment using IoT technology, capturing art image samples and environmental data using cameras, sensors, and other devices. In the model application phase, image samples undergo preprocessing and are input into the CNN for feature extraction. Sensor data are concatenated with image feature vectors and input into the fully connected layers to comprehensively understand the artwork. Finally, this work trains the model using techniques such as cross-entropy loss functions and L2 regularization and adjusts hyperparameters to optimize model performance. The results indicate that the improved CNN model can effectively acquire art sample data and student creative expression data, providing accurate and timely feedback and guidance for art design education and teaching, with promising applications. This work offers new insights and methods for the development of art design education. [ABSTRACT FROM AUTHOR]

Inspired by Harney and Moten's (2013) description of study in the undercommons, I bring the perspective of a dance teacher to a conversation about educational equity. Dance is an important method of study and a form of knowledge. It shows up in the undercommons (Harney & Moten, 2013) and in students' at-home educations (Shujaa, 1993). In-school dance educators have a unique opportunity to bridge the undercommons and the public schools. In addition, using dance to cultivate a multidisciplinary dialogue is a move toward decolonized education and affirms a mode of study that has been historically excluded from schools. [ABSTRACT FROM AUTHOR]

This article explores the integration of the art studio framework developed by Harvard University's Project Zero into science education and investigates its influence on the academic achievements of third-grade students. This study involved a cohort of 140 third-grade students from a primary school in Iran, 70 of whom were students assigned to an experimental group and taught a specific chapter from a science textbook using the art studio method. A control group of 70 students received traditional teaching methods. During the instructional period, both groups performed identical tests, and the impact of the intervention on academic grades was assessed. Statistical analysis of the experimental and control group scores revealed a significant improvement in academic achievement among students exposed to art-inspired science teaching. The study suggested that adopting the structure and features of an art class in science education positively affects student performance. [ABSTRACT FROM AUTHOR]

Over-60 seniors in Shanghai have at their disposal arts courses, community activities, and arts education, all geared toward their physical and mental well-being, according to the traditional Chinese theory of "artistic living." If current university programs for the elderly accurately identify the artistic needs of the elderly, further individualizing curricula and holding more varied events at community centers, it would help to solve elderly people's anxieties around loneliness and social marginalization, while allowing them to live in harmony with nature. [ABSTRACT FROM AUTHOR]

In Australia, where initial teacher education is offered both on-campus and in a fully online mode, future primary-school generalist teachers study teaching across the school curriculum. This includes the arts curriculum where opportunities for future teachers to engage in authentic arts learning themselves are generally seen as essential for developing their arts teaching capabilities. However, a number of university educators have reservations about being able to do this effectively in the online environment because of the practical, experiential, and performative nature of arts learning. This study reviews the learning design of two compulsory arts education units in a fully online Bachelor of Education (Primary). It uses the "signature pedagogies" conceptualisation of the distinctive, durable, and pervasive pedagogical features of a discipline and explores whether arts education's signature pedagogies can be sustained in the online environment. Using qualitative content analysis methodology, the study shows that the learning design preserves arts education's signature pedagogies in the online context, though the expression of these is re-imagined for this learning environment. Augmented by survey data from students' unit evaluations, the study shows that online teacher education can offer meaningful arts learning in units designed for future primary-school teachers. [ABSTRACT FROM AUTHOR]

Hip hop is the most popular music in the US and remains on the fringes of the music education profession as both under-integrated, researched, and utilised. The purpose of this project was to investigate the experiences and perceptions of undergraduate music students who facilitated a hip hop project with hip hop experts in a local youth arts organisation located in the southeastern region of the US. As a qualitative investigation, analysis of these data revealed four themes associated with undergraduate music student experiences, which included (1) adaptability, (2) connection, (3) discomfort, and (4) impact. These data suggest direct influences on participant understandings related to hip hop with implications for the field of music education to include hip hop experiences in democratic and learner-led classrooms. [ABSTRACT FROM AUTHOR]

Is education being disingenuous about arts education? When arts education is evaluated, the value of arts education is disputed. Arts education is judged to be of poor educational proof value. I believe a very different conclusion about arts education can be drawn. Pertinent to a good education in general is arts education. Why the arts are educationally troubling and how arts education can improve education is examined here. A brief account of arts education is given in an attempt to explain why the arts in education are not a luxury but, instead, a genuine need. [ABSTRACT FROM AUTHOR]

The demand for an educated workforce is an interesting issue and needs to be discussed. Before the initiation of the link and match strategy, it seems that art education had made efforts to consider the outcomes of its graduates. Especially for art and design education, it is hoped that with the skills acquired, the graduates will be able to work directly in the formal and informal sectors. This is a further thought for the development of the independence of art and design education products. Basically, science and technology can consistently support art, especially for the development of its expression. With inward and outward-oriented development, which is based on the function of art education institutions and the challenges of external influences, art education should be able to solve various problems for the independence of its graduates. That is the alternative offered in this paper. [ABSTRACT FROM AUTHOR]

Copyright of Trakya Journal of Education is the property of Trakya Journal 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.)

Content and language integrated learning (CLIL) involves teaching an additional language through the study of a subject, and teaching the subject through the medium of the new language. CLIL approaches to additional language acquisition are widely adopted and broadly successful, though some content-subjects may be better suited than others. The acknowledged success of a program where the content-subject was The Arts is the basis for this illustrative case study. The setting is the middle-years of a school in China that prepares students aged 11–14 for future studies in English-speaking countries. The conceptual frame for this study is the signature pedagogies of arts education. Signature pedagogies are the distinctive, characteristic and widely adopted pedagogical practices associated with the specific discipline. The signature pedagogies framework serves to identify qualities of the learning and teaching in this study that are broadly and systematically practised, and therefore have relevance beyond the specific case. It was found that the teacher's skilful implementation of the signature pedagogies of arts education played a primary role in the success of the program. This finding supports the broader adoption of The Arts as a suitable content-subject for CLIL. [ABSTRACT FROM AUTHOR]

In visual arts education, understanding abstract concepts and intricate symbolism is crucial for appreciating traditional art. However, traditional teaching methods often fail to facilitate students' grasp of these ideas, resulting in reduced engagement and inefficient learning. To overcome this, our study integrates Augmented Reality (AR) technology into a card game to enhance visual arts education. Using a quasi-experimental approach and a gamification model, we evaluated the influence of AR technology in the card game. Sixty Primary 6 students participated, divided into an experimental group (using an AR-based card game) and a control group (using a conventional card game). The study concluded that AR technology significantly improved student performance, flow state, and reduced cognitive load, highlighting its potential to enhance visual arts education. This study contributes to the ongoing research on Augmented Reality Game-Based Learning (AR-GBL) for visual arts education. It also guides art teachers in effectively integrating AR technology into authentic classroom teaching environments. [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]

Arts educators are rightly passionate about our work and its liberatory potential. However, we must also grapple with the ways in which ableism and racism circulate in arts education spaces, evading change and sustaining injustice. Through a fictionalized vignette, I explore how ableism and racism circulate in arts classrooms to co-construct images of “good” art, “good” artists, “good” arts educators, and the value of arts education to multiply marginalized students. I then illustrate how sustainability and collective access, two principles offered by Disability Justice activism, might counter these constructions and help us imagine more liberatory arts education spaces. I conclude with an appeal to those of us in arts education to critically reflect on our complicity in oppressive systems and engage in pedagogical resistance, moving in solidarity with disabled students of color. [ABSTRACT FROM AUTHOR]

Painting is the most fundamental kind of art, and is one important part of creative practice in art courses. In typical painting classes, students paint a picture independently with only a few theoretical explanations and may lack authentic experience of the painting topic. It would therefore be meaningful to construct a new painting form to enhance students' learning efficiency and creativity. Previous research indicated that high-quality collaboration and digital technology have the potential to enhance students' innovation in art courses. Therefore, in the current study, a virtual reality-based collaborative painting (VR-CP) approach was developed and applied to painting in a primary school art class to verify its effectiveness. A total of 45 fifth graders from China were recruited and randomly divided into an experimental group, with 21 students learning with the VR-CP approach, and 24 students in the control group, which adopted the conventional paper-and-brush collaborative painting (C-CP) approach. The results showed that the VR-CP approach can facilitate students' creative thinking behaviors of exploring, knowing what they want to do, analyzing ideas, and taking risks, as well as the development of product creative quality. It was found that the students learning with the VR-CP approach tended to demonstrate better collaboration levels and used more bidirectional-sharing strategies than the students learning with the C-CP approach. [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]