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STEAM education puts professional learning communities on the agenda by requiring teacher collaboration along with disciplinary integrity. In this study, a professional learning community in STEAM education was investigated by observing 49 teachers from different disciplines working in different districts during 16 weeks of interdisciplinary training and their practice with students. Teachers' perceptions of skills teaching self-efficacy, design self-efficacy and perceptions of interdisciplinary teaching were assessed using pre-post tests. The research concluded that the STEAM professional learning community study positively improved teachers' perceptions of skill teaching self-efficacy and interdisciplinary teaching, but was not sufficient to develop design self-efficacy. It was found that teachers' views of practice were positive and that interdisciplinary collaboration contributed to this. In light of the research findings, it was suggested that the use of professional learning communities in STEAM education may be an effective example of the interdisciplinary functioning of hands-on workshops.

The aim of this study is to identify the strengths, weaknesses, opportunities, and threats (SWOT) of science, technology, engineering, art, and mathematics (STEAM) learning at the elementary school level in Makassar. This study employed a mixed methods approach, specifically the QUANqual type of explanatory sequential design. The survey method was used to collect and analyze quantitative data, while interviews and documentation methods were used for qualitative non-numerical data. The respondents consisted of elementary school teachers in Makassar who were selected using simple random sampling. The results showed that using SWOT analysis and internal strategic factors analysis summary-external strategic factors analysis summary (IFAS-EFAS) calculations, the strengths-opportunities (SO) strategy has the highest score of 4.27. In addition, the weaknesses-opportunities (WO), strengths-threats (ST), and weaknesses-threats (WT) strategies received consecutive scores of 3.25, 2.71, and 1.69, respectively. It suggests that STEAM learning in Makassar is in a growth stage due to its strengths and opportunities that support the development of STEAM education in the city.

In today's world, technology plays a significant role in shaping our daily interactions and how we connect with the world. The rapid advancements in technology have influenced many sectors, particularly education, where integrating technology is now seen as essential rather than just a luxury. As a result, the education field has adapted over time to keep up with innovations and their potential to improve the teaching and learning environment. The incorporation of technology into education has evolved from introducing computer systems in classrooms to the adoption of smartboards, tablets, and e-learning platforms. The rise of Virtual Reality (VR) technology has also opened up possibilities for hands-on learning experiences that allow students to explore and practice skills in ways that traditional teaching methods cannot. VR technology enables students to interact with content in a way that fosters a sense of presence and immersion, which can improve knowledge retention. In fields, like science, engineering, medicine, arts, and language learning, VR applications have shown promise in boosting student engagement and enhancing skills within a controlled learning environment. However, the widespread adoption of VR technology in education faces challenges. One significant obstacle is the cost of acquiring VR equipment and software which can strain budgets. Additionally, the availability of high-quality content for VR platforms poses a barrier for educators seeking to integrate VR into their teaching practices. This article delves into the use of Virtual Reality in education, and how VR can influence student learning outcomes in applications such as medicine, science, arts and language learning. Apart from the advantages of VR, the article also discusses the obstacles that are impeding the use of VR in education including concerns about costs, standardizing content and the necessity for training and support for educators. As VR technology advances and becomes widely available, it stands ready to revolutionize the landscape by offering learning opportunities that were previously beyond imagination. Through this technology, education can introduce a world of possibilities that nurture curiosity, creativity and a lifelong enthusiasm for learning.

Art and artistic activities that play a significant role in the lives of both children and adults are an important requirement for all individuals. Cultures develop, expand, and enrich through artistic activities, which are important for the development of visual literacy, especially in social studies. The present study aims to determine the reflection of various artistic branches in the social studies course and the student interest and love that art is considered to evoke in the context of the social studies course. In the study, qualitative research methods and techniques were used to review relevant documents and determine participant views about the role of art in social studies. First, the current Turkish social studies curricula and textbooks were analyzed. Then, an interview form developed by the authors was applied to 80 students attending all grades in a public middle school and 3 teachers employed in these schools in one of the major cities in Turkey. The attributes employed by the teachers and students in the interview form were analyzed with thematic and content analysis. The study findings demonstrated that the curricula and textbook achievements that allow activities in several art branches are limited. However, despite the limitations, the study findings demonstrated that the students were interested in different art branches and evidenced the support of social studies in the development of interest and love for certain learning areas.

After years of development in the background, Artificial Intelligence (AI) has burst onto the global stage thanks to open tools for generating textual, visual, auditory, and audiovisual content. In this emerging context, AI is not only emerging as a technological phenomenon but also as a catalyst for innovation in the artistic and educational fields. Although we are only at the dawn, AI is rapidly evolving and leading us towards a revolution, opening a new field of possibilities in creative domains that will transform current aesthetic, procedural, and authorial conceptions. Its potential as a creative tool is currently limited to being a support that facilitates obtaining results of great formal quality and style quickly, but without human intervention based on clear objectives, it becomes an empty generator. Artistic Education must embrace this technology not as an intruder or rival, but as a tool to be known and integrated as another means of creation, developing skills that allow students not only to use these tools effectively but also to reflect on their implications in society and culture. Promoting a conscious, responsible, safe, and ethical use that ensures a critical stance towards generative AI. Understand that it is not a creative tool. It is for creators.

Funded by the Social Sciences and Research Council of Canada (SSHRC) grant, this national study examines arts-based adult education organizations involved in dance, music, drama, and visual arts with a philosophical perspective aligned with a multiliteracies theoretical framework. Multiliteracies considers how cultural and linguistic diversity must be fostered to encourage adults to thrive in all learning environments and recognizes that multimodality provides an expanded way to engage in literacy practices. Utilizing Carey Jewitt's four theoretical tenets to characterize multimodality serves to structure the analytical framework for the findings and discussion of this paper. Multiple case studies and constructivist grounded theory were used for the methodology. Some of the sites discussed in this paper include an art gallery; an immigration museum; and a chamber music organization that offers interactive performances. Participants included adult educators and learners who had options around face-to-face interviews; observations; document analysis of lesson plans or exemplars; or secondary data analysis of original ¿lm footage shot in these spaces. This research has found that arts-based approaches can infuse the work of adult educators to engage adult learners in inclusive pedagogy and active citizenship.

In this paper the author want to focus especially on the education of girls from Hungarian aristocratic families by studying not only the relationship between the parents and the children but also the aim, content, methods of education. The sources were primarily the memoirs that have been more frequently published, that resulted in more detailed, subtle conclusions complete with personal motivations as well. The research method was narrative text analysis. The author concluded that there were practically only some aristocratic girls who had enrolled a secondary school before WW1. After WW1 there were more and more girls taking part in school education, the reason being their financial circumstances and the changed social and cultural situation. Some have already enrolled in university or obtained a vocational qualification. However, working women were very rare among them. The relationship between the parents and children was different by families, but the strict distance increasingly loosened up. One of the most important goal of education was the knowledge of modern languages. Besides practising religion and arts physical education and sports were present in the lives of the girls in the country. Girls could only move around in their own social groups, they put special emphasis on developing social competences. A girl's goal was to find a spouse who is worthy of her rank.

Team-assisted individualization (TAI) learning accommodates the primary school students' learning activities through the cooperative and individual learning models. The study aims at investigating students' TAI cooperative and conventional learning models among third-graders' thematic subjects two public primary schools in Klaten district, Indonesia. A quasi-experimental research design was applied by involving 20 experiment and 18 control groups respectively. Data collection used the multiple-choice tests of thematic subjects to measure the third-graders' TAI cooperative and conventional learning in arts, culture, and life skills and Indonesian subjects. Data analysis used a non-parametric statistic to prove the mean difference test in two or more groups, descriptive test, T-tests, Mann Whitney-U test, and N-gain test. The results showed an increase in the experiment group higher than in the control group. However, there was no significant difference between the experiment and control groups after examining the multiple-choice tests. The results supported the thematic subjects of the characteristics of living things in arts, culture, and life skills, and Indonesian teaching since proving the third-graders' learning improvement naturally and objectively. This study concludes that TAI's cooperative and conventional learning models accommodate the learning activities although its implication does not contribute significantly.

People's lives tend to the outside world, leading to the waning of cultural preservation values due to the ease with which foreign cultural influences enter and threaten the existence of local culture. To avoid the decline of the younger generation's interest in traditional art, it is necessary to carry out an idea of preservation through education, in this case, social studies subjects at school. This study aims to analyze the relationship between traditional art and social studies as a learning resource. The traditional art discussed in this study is panting music which is traditional arts in South Kalimantan. This is done to get a pattern for preserving traditional arts through social studies subjects. The research method used is qualitative. Data collection is done through observation, interviews, and documentation. Informant this research panting music players, and social studies teachers. The various data obtained are then reduced, presented, and then concluded. The researcher triangulated and extended the observations. The study's results confirmed panting music performance activities could be packaged as social studies learning resources. This is done by integrating class VII textbooks on the theme of cultural and ethnic diversity in the Indonesian traditional musical.

This study investigates the multifaceted roles and competences of STEAM (Science, Technology, Engineering, Arts and Mathematics) educators and their engagement in Communities of Practice (CoPs). Through an online survey of Greek educators who have implemented STEAM educational projects, employing both closed and open-ended questions, this research uncovers the complexities of the STEAM educators' role and illustrates how engagement in CoPs can be critical for their professional development and pedagogical practices. The findings highlight the benefits of collaboration, experience exchange and the adoption of best practices within these communities, emphasising CoPs' transformative potential in enhancing STEAM education. By focusing on the educators' perceptions and the contributions of CoPs to teaching, learning and professional growth, this study offers insight that may benefit other European countries without a formal STEAM curriculum, advocating for the integration of art in STEM fields and the importance of CoPs in advancing educational practices towards a more equitable, inclusive and vibrant society.

This study examined the piloting of a literacy, arts and wellbeing (LAB) project in a rural school in Queensland, Australia. The research involved a Year 1 class (n = 24) participating in co-designed lessons with their classroom teacher and two visiting researchers from a regional university. These lessons were developed with literacy learning outcomes, arts-based approaches and positive education components in mind. Lesson observations and artefacts were collected to understand the children's participation and development of the learning objectives. In addition, teacher interviews and researcher reflections provided feedback about the approach's effectiveness. Data were analysed using an arts-based social engagement model to improve health. Evidence from this case study showed that language and literacy learning outcomes and wellbeing were strongly developed through the LAB approaches. More research is needed to know if a whole school LAB approach would benefit children across other settings.

Crip time is a fluid term with various definitions that pertain to the ways that disabled people experience time. In one sense, the effects of crip time can be constraining, particularly when it results in an encounter with ableist institutional and societal barriers. But crip time can also take on a liberatory form as a mode of resistance and a catalyst for structural change. This autoethnographic inquiry explores these various manifestations of crip time and will take form as a kind of crip time travel endeavour that recounts my experiences of temporality as a neurodivergent university art student. Framed through the mental imagery of the membrane and the vortex, I discuss the ways in which my neurodivergent student temporality collided and conflicted with the rigid temporal frameworks of neoliberal higher art education (HAE). I particularly focus on how HAE segments its programming into academic and artistic curricular time. I detail my difficulties keeping up with the academic curricular time to such an extent that the studio time and community time of artistic curricular time became lost or displaced time. Based on this crip time travel inquiry, I will acknowledge and move beyond a confining conception of crip time to offer insights into the liberatory potential of crip time towards reimagining temporal relations, reconceiving student success and opening time for neurodivergent students for critical making and thinking among a community of artist peers and mentors in HAE.

In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non-human. Through the implementation of a project titled 'To Play,' which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six-week period underpins the analysis, with a particular emphasis on understanding students' experiences with material-led processes. The findings highlight the potential of material-led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre-GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.

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.

This article explores how lens-based practices can articulate and respond to art education phenomena. The affective turn in education and appearances of education in artists' film and moving-image are explored to help identify different appearances and experiences of art education pedagogy. Interspersed by clip descriptions from students and my affective descriptions of watching Être et avoir by Nicolas Philibert, and writing about a film made for the Freelands Foundation SHIFT series, I examine how using moving-image practice to make a collaborative film in a college of further education in the West Midlands, England can dislocate art education pedagogy from Saul's parcelled and segmented time towards affective encounters and out-of-time, temporal experiences. Deleuze's time-image film theory is explored to position pedagogy as a distinct, affective and temporal phenomena in Art Education and is used to compare the experience of both the making of and watching a film in an education context.

In the studio, there are routines and rituals to be observed. One of those is making gesso. The quantities change each time and the ingredients vary, but the mechanical process remains the same: soak rabbit skin glue for 3 hours, double burner melt the glue, sieve in champagne chalk whiting, stir slowly, and tap the sides to remove air bubbles. Brush on first layer. Dry. Sand. Repeat × 10. Out of repetition each new territory is unique with its own lumps, drips and curves on a straight edge board. Making gesso is a kind of ritornello. Drawing on Deleuze and Guattari, a ritornello is a repetition leading to a transformation; it is a methodical kind of time that is rhythmic, local and spatiotemporal. It contravenes the idea of a universal, overarching time to consider heterogeneous, plural experiences of time in the art classroom. Ritornellos exist in both the studio and the art classroom, but in the art classroom, they often sediment into endless repetitions without rupture: tonal scales, colour wheels, drawing grids and pastiche. We apply the concept of ritornello to pedagogy in Secondary Art and Design education to think about school art orthodoxies and how they can be reterritorialised.

"Gastatelier de Vindplaats" is an informal shared art studio in a school building in Amsterdam. Children can join--free of charge--in their own neighbourhood, there is room for everybody to be engaged on their own terms as often as they like, and most materials consist of recycled goods. "Gastatelier" also aims to be a participatory practice because of the way it engages in school routines, family relations and neighbourhood activities. It is, lastly but distinctively, an artistic residency where artists are allowed time and space to become engaged in a specific social context. After the first year of pioneering, space and time have become essential to understand the methodology of the studio. Artists for example are allowed to spend as much time in the studio as they like, according to the European Unions guideline for artist's residencies, but children's time in the studio remains limited to a weekly hour and a half. The question arises how the role of this unevenly distributed time affects the children's agency of the studio.

Teaching is increasingly defined through the syntax of cognitive science, by retrieval practice, spaced learning, and interleaving, generating a computational rhythm for learning as a system of inputs and outputs that builds up an individual's memory over time. This, I argue, is at odds with the choreography of art and design education as an aesthetic, social, and material practice. An alternative mapping is required to fully understand the chronology of learning that takes place in and through the subject of art and design with human and nonhuman others. Drawing from a review of research in the field of Neuroaesthetics, I will seek to defend the unique temporality of art and design education and imagine different visualisations of learning in the subject beyond the computational.

Regional Technical Colleges, later Institutes of Technology, were developed just over fifty years ago in response to a perceived gap in knowledge, skills, and competencies required to promote market growth and success (Thorn, 2018). It was envisaged that this change to Ireland's higher education landscape would be capable of continuing adaptation to the social, economic, and technological changes (to meet the needs of employers and students (Steering Committee on Technical Education Report to the Minister for Education on Regional Technical Colleges, 1967, 11). Fifty years after this initiative began, the presented paper wishes to reflect and review what is occurring within today's higher education landscape, posing the question: Did the newly introduced additional higher education institute type evolve from their modest beginnings? Specifically, did they, as suggested by the Steering Committee on Technical Education Report to the Minister for Education on Regional Technical Colleges (1967), avoid the dichotomy and provide students with an opportunity to study in a variety of fields close to their home, or has something else emerged and evolved that is in contradiction to this ambition. This research paper examines these questions using available Higher Education Authority data, considering what this means for student access, equity, and choice within Ireland's higher education system. The findings of this review suggest that while increased student participation in higher education is evident, the choice for today's aspiring student is less noticeable or possible within some fields of study because of the socially constructed configuration of Ireland's higher education system.

STEAM contests play a pivotal role in maintaining students' interest and motivation in STEAM education. Finding factors that are related to students' continuance intention (CI) to participate in STEAM contests is important for promoting STEAM education. Previous studies mostly focused on exploring the relationships between students' behavioural attitude, positive affect and their CI for a STEAM contest. However, few studies have explored students' CI from the perspective of help-seeking attitude with the belief-attitude-behaviour model. Thus, this study investigated the relationships among students' hands-on making self-efficacy (HMSE), incremental belief of intelligence (IBI), help-seeking attitudes including instrumental help-seeking (IHS) and executive help-seeking (EHS), and their CI for STEAM contests based on the belief-attitude-behaviour model. A total of 405 elementary and junior high school students who took part in the 2022 STEAM PowerTech contest participated in this study. Structural equation modelling was used for confirmatory analysis to validate the hypotheses. Results indicated that EHS exhibited a negative association with CI, whereas IHS exhibited a positive association with CI. HMSE and IBI were negatively associated with EHS, and positively associated with IHS. This study implies that students with a high level of HMSE and IBI are inclined to exhibit IHS and thus have a strong CI for STEAM contests. The findings provide suggestions on enhancing students' CI for STEAM contests.

This article reflects on analyzing and understanding the articulation between creative processes in art education and the development of training for a culture of social and cultural citizenship. The methodology of projects developed in Workplace Training over two academic years involved two 12th-grade secondary specialized art classes. The realization of the projects, based on the action-research methodology, sought the student's participation and involvement in the decision-making of the activities as co-authors in their learning and cooperation with the teachers. Direct observation and interviews with the participants were the main instruments for the data collection. The analysis data used the NVivo program. This study argues on the sociocultural theories of creativity (Glaveanu, 2013; Beghetto, 2016), citizenship and educational contexts (Eça, 2010; Caetano & Freire, 2014), and the context of Art Education (Eça et al., 2012; Eça, 2014; Ramirez, 2016). The main results revealed an interdependent relationship between creative processes and citizenship practices, increased knowledge, and capacities capable of promoting collaborative creativity (Burnard & Dragovic, 2015). These results will allow this relational dynamic to develop and transform through social interactions and situated contexts, with evidence of communication between all those involved, with openness to social and cultural diversity, to generate other possibilities for synergy.

In today's constantly changing world technological developments in artificial intelligence (AI) can induce educational visions of both utopia and dystopia. New technologies and communication platforms can provide new forms and possibilities of learning. Creating an image has historically mostly been a human process of using knowledge and application of technique that demanded training. This image-making process changed with the invention, development and spread of the photographic camera, when creating a detailed visual representation of reality became a possibility without a complex process of craftsmanship and artistry. The nature of visual art changed but the visualisation of ideas and prefigurative thoughts could not necessarily be captured by a camera. With the development and spread of AI text-to-image generation, can this change the need for competency to visualise ideas in the way the camera changed the need for drawings and paintings as visual representations? This study explores how AI text-to-image generators can contribute to and change art and design education. We conducted exploratory experiments where we tested a variety of AI text-to-image generators and explored the outcome of using different generators, prompts and settings. Reflections were written down throughout the process. This was combined with an online ethnography on a text-to-image community. Different potentials of learning were identified, as well as issues of interaction and possible contexts of use. The results are discussed in a future learning context. [This is a version of the article available on the publisher's website.]

Despite the ongoing debate in academic circles regarding the impact of the arts on individual and collective well-being, there is a paucity of empirical research in this area. Nevertheless, recent studies have begun to establish a significant correlation between arts engagement and a range of positive outcomes. The objective of this study is to enhance the existing conceptual framework by providing empirical evidence of how early exposure to and active engagement with the arts can influence the development of character strengths within an educational context. A comparative design was employed in the study, which included 993 fifth- and sixth-grade students in Spain. The control group consisted of students with no interest or participation in artistic activities, while the experimental group demonstrated both interest and active participation in the arts. A quantitative approach was employed to collect data via a validated questionnaire, which was then analysed to discern relationships between variables using correlation techniques and non-parametric tests. The findings indicate a significant correlation between students' interest and participation in artistic activities and their perception of character strengths. In particular, engagement with the arts is associated with higher levels of character strengths linked to the virtue of wisdom and knowledge, including creativity and a love of learning. This research makes a significant contribution to the existing body of knowledge on the role of the arts in fostering character strengths and the application of positive psychology in well-being. It highlights the importance of integrating the arts into educational settings as a central component. Furthermore, the document puts forth recommendations for future interventions.

The rise of online arts education content delivery has created challenges for arts educators in Initial Teacher Preparation (ITP). Consequently, educators in various arts disciplines across Australia have been regularly meeting online to share, explore and experiment with ITP arts learning practices with the aim of establishing authentic learning and assessment. However, as Eisner reminds us, one must first be an artist if we wish to develop aesthetic dispositions, creativity, and artistry within our teachers and their students. We thus considered our arts ITP teaching from an a/r/tographic perspective, interconnecting the work of each of us as artist, teacher, and researcher and their intersections. This paper shares the processes and theorizations of our two-year a/r/tographic inquiry. It reveals the potential for collective a/r/tographic inquiry as not only a valuable means of engaging in educational research for initial teacher preparation, but as bespoke online pedagogical practice for meaningful arts praxis.

This study focuses on supporting the key competences of 6th graders using an empathy-centred approach in visual art classes. The research represents the third cycle of pedagogical action research conducted during a 35-academic-hour course with 70 middle school students aged 12-13 in an Estonian comprehensive school. The data were collected through a research journal, participant art journals, course feedback forms, and artworks analysed inductively. The findings indicate that the students recognised and acquired visual art strategies for expressing and dealing with different emotions. Some indications of helping behaviour were also detected. From the teacher-researcher point of view, the key competence framework encouraged the reimagining of the art learning process and helped to recognise and acknowledge students with different skill sets.

Arts integration in core learning domains has long been acknowledged as an engaging and effective pedagogical approach. Creative activities encourage students to take risks, make mistakes, and consider alternative perspectives, promoting curiosity and developing problem-solving capacity. Arts integration is valuable in classrooms also for sensitively addressing complex issues related to identity, race, and culture. Yet, despite the numerous academic and social benefits of the arts, contemporary neoliberal constraints are gradually diminishing funding for arts-based practices in Australia. Using an interpretive, contextualized qualitative methodology based on Indigenous Storywork (Archibald, 2008), we present research findings showcasing examples provided by Indigenous experts on the potential of arts-based practices in schools. Our Indigenous Storywork demonstrates how, through an arts-based approach, a more profound appreciation of Indigenous culture and history can create an inclusive learning environment that considers local protocols and values.

The climate crisis is a growing concern for many people, especially those who are of college age, making it an important and pressing issue to explore in honors courses. Eco-Art: Using Art to Reconcile with the Climate Crisis, a University of New Mexico (UNM) Honors College course, integrates the disciplines of art and environmental justice to examine climate change and address the social and emotional toll of climate grief. The class was co-created and team taught by Associate Professor Megan Jacobs and UNM undergraduate honors and environmental science student Kineo Memmer. This article unpacks the methodologies and lessons learned from this intergenerational team-teaching experience. The class forged community partnerships and created short documentary films highlighting climate activism in New Mexico as well as creative works on climate grief. Using an egalitarian instruction model, the instructors found common ground between their respective disciplines to develop projects and cull readings, which they outline in detail. This type of collaboration is key in the climate movement, as intersectional ways of problem-solving are necessary to combat the climate crisis.

This study compared two versions of the same elementary science professional development (PD) and curriculum program that were offered face-to-face and completely online, while keeping all content consistent between the two. Using quantitative analyses of pre- and posttests of content knowledge (CK), we evaluated the extent to which the online version of the PD compared to the face-to-face PD for increasing the earth science and art CK of upper elementary teachers required to teach an earth science and art integrated curriculum. Additionally, we explored how the impact of PD modality (online vs. face-to-face) on teachers' CK learning outcomes differed for novice and experienced teachers. Findings revealed significantly higher CK learning gains for teachers who participated in online PD compared with face-to-face PD, but with a small effect size. Subgroup analysis revealed that compared with experienced teachers, the novice teachers had significantly higher CK gains from participating in the online PD compared to the face-to-face version with a large effect size. We also discuss the implications for the design of large-scale online teacher PD.

This research addresses the problem of how to tackle STEM education and its transformation into STEAM education in an inclusive school. It highlights the need for communication competence in collaborative teaching supported by problem-based (PBL), project-based (PrBL) and game-based (GBL) learning. At the same time, it is necessary to highlight the importance of arts in all the listed innovative forms of learning and teaching, as teamwork and cooperation between the members of these teams are extremely important. The key competence of this participation in the mentioned forms of knowledge is communication competence, which is manifested in students' self-confidence/lack of self-confidence, in their level of well-being, collaboration, motivation, their active role and awareness. The empirical research was conducted on a sample of eleven classes from six Slovenian-inclusive schools, with at least one student with SEN in each class. The research focused on the differences between students with and without SEN regarding their perception of STEAM lessons supported by gamification elements. The results showed that using innovative teaching methods can connect and positively affect STEAM, which, with the help of technology, engineering and art, consequently, improves a deeper understanding of the field of Science and Mathematics (S-tea-M).

Since the 1950s, educational literature has explored the potential of translating art criticism into classroom practices. This eventually led to the emergence of educational criticism as a distinctive form of inquiry in the 1970s. However, despite its potential for exploring educational experiences and evaluating educational programs, educational criticism remains a relatively underutilized research method within the education community. It is hypothesized that educational researchers are not adequately equipped with the specialized knowledge and technical skills required for constructing an educational criticism. Based on this understanding, this paper aims to clarify what educational criticism is, how it can be used, and what criteria should be used to evaluate its quality. Methodologically, educational criticism is a type of arts-based educational inquiry that is conducted to understand and explore the characteristics, meaning, and/or value of an educational event. Researchers employing this method act as educational connoisseurs who employ the art of criticism to make public their observations of educational practices. These observations are organized through four interrelated features: description, interpretation, evaluation, and thematic analysis. To ensure the trustworthiness of educational criticism, scholars have proposed four core criteria: structural corroboration, consensual validation, referential adequacy, and instrumental utility. This analytical framework enables educational researchers to utilize educational criticism as a tool for exploring educational experiences and evaluating educational practices.

Over the past decade, the arts' potential role in advancing mainstream transdisciplinary curriculum models, like STEM, has been more overtly recognized, both within arts and STEM communities. In this study, we explored STEAM curricula centered around data visualization, a transdisciplinary practice commonly utilized in design and STEM fields and increasingly practiced in contemporary art. Through addressing the research question "What opportunities and challenges for learning does arts-based data visualization provide Grade 4-8 students?," this study highlights the value of transdisciplinary curriculum models that incorporate the arts for fostering K-12 students' learning. However, the findings related to student engagement and teacher perceptions also raised some important questions. Which classroom contexts are most conducive to such inquiry? And, which contexts and conditions will avoid reinforcing the disciplinary hegemony that marginalizes the arts, a crucial, yet increasingly underappreciated, system of inquiry and knowledge needed for navigating life in the twenty-first century?

Drama in Education (DiE) has been a well-known teaching technique for an active learning approach for students. It utilizes different forms of conventions to enhance a student's learning experience in the classroom, offering alternatives instead of the traditional teaching approaches. Drama can encourage students to learn and think critically and improve public speaking, communication, and confidence. The article portrays the use of drama activities in STEAM education by depicting the benefits and challenges. This study uses a qualitative approach to collect data, including relevant literature, descriptions of drama activities, and observation. The findings display that drama in STEAM education can improve and stimulate students' learning and knowledge in a particular subject. This study aimed to view 19 higher education students' perspectives of drama activities in STEAM. Two activities were completed during this pilot study and observations were made throughout the process. Furthermore, drama in STEAM stimulated the students, were more enthusiastic about exploring, examining and learning, socializing with their groupmates, and the confidence to perform.

In this study, the implementation of a STEAM project was critically examined, with constructivist grounded principles utilized to inform the perspective of both a learner and a STEAM practitioner. A comprehensive project plan was devised that incorporated CAP domains through the integration of the STEAM praxis with peer and self-assessment strategies for school-level science education. This innovative approach, aimed at nurturing the aesthetic value in arts and the evaluation process, led to the creation of a unique methodology for assessing students' cognitive and psychomotor skills. The framework for accessing students' peer/self-evaluation via meticulously designed rubrics is further highlighted. The implementation of a project plan proved to be an interactive and insightful process, fostering a profound understanding of students' concerns and interests. This study underscores the transformative potential of the STEAM approach in educational settings, highlighting its role in promoting critical thinking, creativity, and problem-solving skills among students. [This article was presented at Conference on Recent Trends in Science, Technology, and Innovation-2024, held in-person in Pokhara 33700, Nepal on February 22, 2024.]

Anhui Phoenix Painting Art explores the intersection of traditional art with digital innovation to enhance education literacy. The study's objective is to investigate the impact of digital innovation in Anhui Phoenix Painting Art on education literacy in the new era. The research content includes a literature review on semiotic theory, cultural identity theory, and digital design theory, highlighting their relevance to the study. The research site encompasses Chuzhou City, Anhui Province, known for its rich history of Phoenix painting art dating back over 600 years. Key informants for the study include artists, educators, and digital media experts familiar with Anhui Phoenix Painting Art. Data analysis involves a combination of qualitative methods such as field surveys, expert interviews, and image composition analysis, along with quantitative methods like questionnaires and data visualization tools. The research results indicate advancements in digital innovation and information integration, enhancing education literacy and cultural preservation. The study suggests continued collaboration between traditional artists and digital technology experts to revitalize folk art forms like Anhui Phoenix Painting and bridge the gap between tradition and modernity.

In an ever-changing world, we have been witnessing many developments in our lives. A way to keep up with these developments will be possible through necessary skills such as critical thinking. In the literature, art education is suggested specifically as a contributor for creative skill development and critical thinking skills. The objective of this study was to examine and evaluate students' critical thinking skills based on undergraduate subject area of study. Accordingly, students' critical thinking skills were examined within critical thinking sub-dimensions in addition to variables of gender, age, and year of study. The sample groups consisted of undergraduate freshman and senior students studying Art Education and History. The study was structured according to the relational screening model, and the "Cornell Critical Thinking Test Level Z" (CCTT-Z) was used to measure critical thinking skills. Results of the study revealed that, critical thinking skill levels of the students were low in both cohorts and there was no statistically significant difference according to study areas. The results also showed no meaningful difference in critical thinking skills of freshman and senior students within the group who are studying Art Education. Similarly, demographics such as gender and year of study made no particular difference in terms of students' critical thinking scores. The cohort of 25-30 age group showed a relatively positive difference in terms of age variable as compared to other cohorts. It was concluded that critical thinking skills could be supported by means of designing a curriculum that encourages and develops critical thinking skills and creative thinking through specific educational strategies.

Higher education arts programs are implementing experiential learning (EL) programs to address skills gaps and better prepare students for careers in an evolving arts industry. However, there is a dearth of research relating to EL in the arts. As a starting point, this research explores the supports and barriers that contribute to student participation in extracurricular EL programs. This mixed methods study employed interviews and a focus group with nine students at a Mid-Atlantic performing arts conservatory, accompanied by a brief demographic survey. The findings revealed a complex web of supports and barriers impacting students' awareness of, participation in, and applications to EL programs, including individual, social, programmatic, and systemic factors. The framework of this small-scale study may serve as a model and starting place for other institutions to understand their own unique audiences and settings moving forward.

Students believed physics was one of the most challenging sciences in education, and their interest in learning physics was lacking. Therefore, this study aims to enhance students' understanding and creativity in the STEAM learning system on electricity by creating a project (Paper Circuit) using the students' creativity at the junior high school level - quantitative research with a pre-experimental design used for this study. The population is 8th grade and 9th grade (50 students adapted to the curriculum used in the school) in one of the Junior Secondary Schools located in Bandung and Cimahi, Indonesia. The data is obtained from the pretest-posttest results, which show that the average pre-test score was 57.04 and the post-test score was 76.64. The nonparametric test was tested using the Wilcoxon test to measure student understanding. The results from e Wilcoxon are 0.000, which shows sig. <0.05, which means there is a significant difference between pre-test and post-test. Students' creativity is obtained from the Creativity Product Analysis Matrix (CPAM), and the result for Project 1 is 73.71%, categorized as enough, and Project 2 is 83.13%, categorized as good. Based on the result, Paper Circuit STEAM project-based learning can enhance student understanding and creativity. STEAM project-based learning can be used as an alternative teaching strategy in junior secondary school.

This scientometric analysis explores the evolution and dynamics of Early Childhood STEAM education. Web of Science database is employed as a primary data source and visualization tools like CiteSpace and HistCite are used to systematically investigate 179 publications published between 2008 and 2023. It looks at research patterns to unearth notable shifts in focus and intensity influenced by the COVID-19 pandemic. Keyword analysis reveals the field's evolution, from foundational elements to broader dimensions encompassing technology, pedagogy, and gender disparities. A transition towards experiential learning, emotional identity, and professional development is evident, which reflects a pedagogical shift towards comprehensive and inclusive education. Temporal analysis using Citation Burst Analysis delineates phases of research, emphasizing shifts from fundamental exploration to pedagogical methods and experiences. Acknowledgement of influential scholars, collaborations, and global trends underscores events of interdisciplinary partnerships and international collaborations. The study's implications highlight pedagogical transformations, gender disparity, and the potential for technology in early childhood education. This could inform policy directions and foster collaborations for innovative education.

In this paper, we propose novel transdisciplinary STEAM practices to enable students and teachers to model architecture using technology. Architectural modelling can foster students' mathematical knowledge and computational thinking while connecting them to other disciplines such as culture and history. Our study focuses on enabling architectural, cultural, and historical diversity in educational practices. Moreover, the study tries to foster participants' modelling skills and innovative technology use as augmented reality and 3D printing. Thus, this paper will describe three case studies from Austria, Libya, and Indonesia and how these STEAM practices were used in different ways to allow participants to express their diversities through modelling diverse architectural constructions cross-culturally. We followed a qualitative data analysis approach for the participants' interviews, questionnaires and artefacts including architectural modelling, disciplines connections and lesson plans. The data analysis resulted in emerging themes emphasizing STEAM practices' possibilities to connect architecture to culture and history and highlighting the participants' cultural diversities in each of the three case studies.

The objectives of this article were: 1) to investigate the components and indicators of Technology Leadership of Teachers in Public Art Education Management in Nanning; 2) to examine the current conditions, desired conditions, and the necessity for developing Technology Leadership of Teachers in Public Art Education Management in Nanning; and 3) to explore guidelines for fostering Technology Leadership of Teachers in Public Art Education Management in Nanning, Guangxi. The research sample comprised 7 participants. The study was divided into three steps: Step 1 involved examining the components and indicators, with qualified individuals evaluating their suitability. Step 2 entailed investigating the current situation using a multi-stage sampling method, with a sample group of 263 individuals. Step 3 focused on exploring guidelines for developing technology leadership among teachers, utilizing data from 6 individuals. Research tools included questionnaires, interviews, and assessments. Statistical analysis methods such as mean, standard deviation, and the analysis of necessary conditions (PNI modified) were employed for data interpretation. The research findings revealed that: 1) the components and indicators of technology leadership among teachers in educational management comprised 4 components and 40 indicators, namely: Technological vision with 10 indicators, Technological competence with 10 indicators, Technology professional development with 10 indicators, and Technology integration with 10 indicators, rated as highly appropriate overall. 2) The necessary requirements for developing technology leadership among teachers in educational management suggested the need for development across all components. 3) The guidelines for fostering technology leadership among teachers in educational management encompassed a total of 13 development strategies. The assessment of these strategies indicated a high level of appropriateness and feasibility.

Art and design students in higher education often prioritize design skills over written communication. With the opportunity to restructure courses around increased asynchronous flexibility arising from the COVID-19 pandemic, the author of this manuscript (who is also the course instructor) has developed a hybrid-blended course design in the art history survey class for over three years. This design guides students toward developing teamwork skills that are crucial in the professional world. While offering tools for art history assignments, this exploratory research encourages humanities scholars to rethink their role in shaping the 21st-century professional. A model of course redesign, including its successes and limitations, is discussed.

This study delves into the intricate tapestry of Jiarong Tibetan embroidery, exploring its historical development, cultural significance, and educational implications in heritage preservation and sustainable practices. The primary objective of this study was to investigate the historical development and literacy of Jiarong Tibetan Embroidery in education. Conducted in Xiaojin County, known for its cultural significance in Tibetan embroidery, the research employed a multidimensional approach, including a literature review, interviews with key informants such as cultural experts and artisans, and thematic analysis of data collected through surveys, observations, and focus-group discussions. The research uncovered profound insights into the origins of Jiarong Tibetan embroidery, its cultural symbolism, educational pedagogy, market dynamics, and strategies for sustainable development. Based on these findings, the study suggests collaborative efforts among stakeholders to integrate heritage education, promote cultural literacy, and preserve traditional crafts like Jiarong Tibetan embroidery in the face of modern challenges.