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Artistic and cultural education has long been marginalised in the professional training provision of public universities in Benin. Individuals aspiring to artistic and cultural careers frequently travel to the West to pursue higher education, or instead they resort to self-study. In 2015, the creation of the Institut National des Métiers d'Art, d'Archéologie et de la Culture (INMAAC; National Institute for Artistic, Archaeological and Cultural Professions) made it possible to offer training more suited to the expanding needs and qualifications of arts and cultural professionals. But what has been the impact of the marginalisation of arts and culture on the professional world? What new prospects are offered by INMAAC to revitalise training? This article explores these two questions through a critical re-reading of specialist literature and oral interviews with cultural collaborators and students as well as an analysis of two collective projects carried out by INMAAC students as part of their course. The article provides a basis for reflection on the need for better integration of the arts and culture within public higher education in Benin. [ABSTRACT FROM AUTHOR]

Copyright of Digital Education Review is the property of University of Barcelona, Virtual Teaching & Learning Research Group 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 Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) 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 Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) 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 Revista Complutense de Educación is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Co-creation has been used across disciplines and within the arts for quite some time. This article aims to analyze what students from a university devoted to the arts understand by the term "co-creation" and how these students suggest evaluating co-creation. It also aims to compare this with the professional's perception to relate the curriculum to what is relevant in the cultural industry. Thus, we discuss how co-creation processes could be integrated into the arts curriculum Higher Education. Through the application of this research to arts education, students, professionals, and communities can benefit from more enriched, engaged experiences with art. [ABSTRACT FROM AUTHOR]

The article delves into the spectrum of conflicting views surrounding the need for the establishment of an art academy in Latvia. Authors with predominantly modernist attitudes asserted that an independent nation's cultural objectives should diverge from those of the Russian-German imperial academies, which they believed stifled creativity. Instead, they advocated for training in private or state studios, reminiscent of the "good old times of the Renaissance". Critical opinions were summarized in an open letter to the government, asserting that true art has always been revolutionary and, therefore, at odds with academic aspirations. However, opposing viewpoints argued that the future academy need not be confined to teaching drab academism. They contended that training under a single individual, without a broader educational foundation, would only produce imitators and dilet-tantes. While the verbal skirmishes between modernists and traditionalists subsided during the 1920s, the spotlight once again fell on the need for this institution, as the echoes of the Great Depression in the USA brought financial challenges. However, it was widely recognized that no viable alternatives to academic education had emerged, and the withdrawal of state funding would only result in a radical impoverishment of educational options. [ABSTRACT FROM AUTHOR]

UNESCO included flamenco as part of Intangible Cultural Heritage of Humanity in 2010. In Andalusia, there is concern about the loss of flamenco traditions and dance forms. The 2023 Andalusian Flamenco Law aims to recover the essence of flamenco, Spain's most representative art form, and teach it in Andalusian schools. The objective of this study is to contribute to the recovery of the teaching of traditional flamenco through a qualitative study (conducted via in-depth interviews) of all teachers of the Escuela Sevillana (Sevillian School), the paradigmatic female flamenco dance in Spain. The data were analysed using Atlas.ti. The results showed that flamenco teachers are concerned to preserve the essence of flamenco dance and have created their own experiential learning methods, reinforced by pedagogical principles commonly used in their teaching practice. A strong methodological foundation is necessary to effectively teach flamenco and begin the process of codifying its content. [ABSTRACT FROM AUTHOR]

Copyright of Mediation of Hungarian Language Culture / Anyanyelvi Kultúraközvetítés is the property of Szent Istvan University, Kaposvar Campus 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.)

Little is known about the methods and effects of parental involvement in art education. The aim of our systematic literature review is to explore the types of parental involvement in four branches of art (music, dance, visual arts, and theatre). We conducted our research with the help of the EBSCO database, using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) procedure. We found that the share of the different artistic fields is highly disproportionate in the literature on parental involvement. Compared to music, theatre, dance, and visual arts, coverage is negligible. During our study, we managed to classify types of parental involvement and found that it showed variety across different branches of art.

The article presents a theoretical-critical review of the process of decolonization of museums, starting from the new notion proposed by the International Council of Museums (ICOM) at the Kyoto conference (2019). From an epistemological perspective, it problematizes how the forms of acquisition, organization, and transmission of knowledge through collections and exhibitions are being influenced by heritage restitution policies that seek to eliminate the colonial past from European museums. For this reason, and considering that decolonization occupies a central position from which to reassess the social function of the museum, we understand that Art Education is key to breaking the asymmetric intercultural dialogue, addressing deliberate omissions, and amplifying invisibleized imaginaries. This transformation aims for museums to shift from being perceived as legitimizing instruments of hegemony to becoming critical cultural managers, promoters, simultaneously, of new educational proposals based on the knowledge and recognition of diverse epistemologies with which to create other forms of understanding and building culture.

This article presents a case study on how to configure a promotional campaign that would benefit the Faculty of Arts at Dunărea de Jos University of Galați. The study explores the integration of market economy principles and organizational strategies into the parameters of artistic education. It emphasizes the importance of considering students both as clients and as inputs/outputs of the didactical approach. The article proposes six pillars for an effective marketing discourse in academic institutions: the connection between artistic education and the art market, the establishment of a commercial art gallery, the creation of an exhibition laboratory, the identification and marketing of student success stories, the development of an institutional brand, and the adaptation of content and student-centered approaches. The study also discusses the need for in-person interactions and the utilization of online platforms to enhance visibility and engagement. Furthermore, it highlights the significance of understanding students` interests and involving pre-university teachers in the promotional process. The article concludes by emphasizing the importance of an efficient marketing strategy to attract potential candidates and foster institutional growth in artistic education.

Little is known about the methods and effects of parental involvement in art education. The aim of our systematic literature review is to explore the types of parental involvement in four branches of art (music, dance, visual arts, and theatre). We conducted our research with the help of the EBSCO database, using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) procedure. We found that the share of the different artistic fields is highly disproportionate in the literature on parental involvement. Compared to music, theatre, dance, and visual arts, coverage is negligible. During our study, we managed to classify types of parental involvement and found that it showed variety across different branches of art. [ABSTRACT FROM AUTHOR]

Copyright of Revista Interuniversitaria de Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) 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 Perspectiva Educacional is the property of Perspectiva Educacional 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.)

Integrated Science-Technology-Engineering-Arts-Mathematics (STEAM) education, an educational approach that is steadily expanding and bringing positive results within various scenarios, is successfully implemented and promoted in various countries. However, it has often been noted in the specialized literature that the incorporation of the arts into STEAM proposals is often at the service of the other disciplines, in that authentic artistic content is scarce or non-existent. It is therefore necessary to ascertain the place of the arts within this approach, so as to move towards their inclusion in an authentic manner. Thus, with the aim of knowing the characteristics of STEAM educational proposals and determining the impact of integrated STEAM education on the development of artistic competencies, this study presents a systematic review of STEAM proposals within Primary and Secondary Education. The results show the very limited impact of this approach on arts education; although the evaluation of artistic competency development has had positive impacts, it has been contemplated in very few studies. Our conclusions reflect on some necessary considerations with which to achieve an authentic and meaningful integration of the arts within STEAM education, opening the door to a conversation on what was previously a gap in the literature. [ABSTRACT FROM AUTHOR]

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

Copyright of Dilemas Contemporáneos: Educación, Política y Valores is the property of Dilemas Contemporaneos: Educacion, Politica y Valores 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.)

As for the phrase "artistic education", in this paper work, it was used in the way of cultivating individual, authentic artistic talent, of acquiring individual skills, abilities and techniques, with the aim of training artists in different fields of arts, as well as the assimilation of theoretical and practical knowledge from the fields of theory, aesthetics, criticism and history of arts etc., adapted to natural, innate capacities with a view to non-verbal creative expression and development plastic expressiveness. Art education and art therapy have in common the fact that they are forms of applications of art that integrate theories and practices of art pedagogy in a supportive environment: museums, art galleries, ambient art - street or interior - nature, classrooms or creative studios, where artists use the influences offered by the environments specific to the practice of the arts, which by their pluri/inter/trans-disciplinary character, encourage freedom of creation, thought, expression and imagination. Being "postmodernist" in art therapy, as Shirley Riley sees it, assumes a renunciation of programmed knowledge. For the art therapist it is essential to become the "student" of the client and to "learn from each client the meaning of the situation that he brings". Through "co-constructive" therapy with the client, the art therapist becomes a collaborator in the therapeutic activity. Art therapy, as a component of occupational therapy, aims to correct the consequences of the disease that caused the disability or handicap, the development of adaptive skills, so that a person with a certain degree of incapacity can make the most of his or her remaining potential, in order to recover (both at family and professional level), by integrating into a useful activity at the highest level accessible to him. The therapeutic methods of the current era experiment with ways specific to each art, to achieve interdisciplinary exchanges. They connect to disciplines such as psychology or psychiatry, anthropology, history, religion, to experience the primary therapeutic values of contemporary art. [ABSTRACT FROM AUTHOR]

As for the phrase “artistic education”, in this paper work, it was used in the way of cultivating individual, authentic artistic talent, of acquiring individual skills, abilities and techniques, with the aim of training artists in different fields of arts, as well as the assimilation of theoretical and practical knowledge from the fields of theory, aesthetics, criticism and history of arts etc., adapted to natural, innate capacities with a view to non-verbal creative expression and development plastic expressiveness. Art education and art therapy have in common the fact that they are forms of applications of art that integrate theories and practices of art pedagogy in a supportive environment: museums, art galleries, ambient art - street or interior - nature, classrooms or creative studios, where artists use the influences offered by the environments specific to the practice of the arts, which by their pluri/inter/trans-disciplinary character, encourage freedom of creation, thought, expression and imagination. Being “postmodernist” in art therapy, as Shirley Riley sees it, assumes a renunciation of programmed knowledge. For the art therapist it is essential to become the “student” of the client and to “learn from each client the meaning of the situation that he brings”. Through “co-constructive” therapy with the client, the art therapist becomes a collaborator in the therapeutic activity. Art therapy, as a component of occupational therapy, aims to correct the consequences of the disease that caused the disability or handicap, the development of adaptive skills, so that a person with a certain degree of incapacity can make the most of his or her remaining potential, in order to recover (both at family and professional level), by integrating into a useful activity at the highest level accessible to him. The therapeutic methods of the current era experiment with ways specific to each art, to achieve interdisciplinary exchanges. They connect to disciplines such as psychology or psychiatry, anthropology, history, religion, to experience the primary therapeutic values of contemporary art.

Objective: this study seeks to design the structure of educational theory appropriate for the native culture of our society, with a focus on explaining the foundations, what and why of artistic education, with an emphasis on the views of Ibn Arabi and Mulla Sadra. Now, considering that Islamic sciences adopt their foundations from Islamic teachings, it should be seen how the Holy Qur'an (as the most reliable Islamic source) is fruitful in order to compile the foundations of the theory. In order to adopt the approach of quoting excerpts from the Qur'an, it is necessary to go to the sciences that have taken steps in order to explain the aforementioned principles. These sciences are Islamic mysticism and Islamic philosophy. Method:The method of this research is qualitative of the theoretical type, and according to the discussion, it uses conceptual analysis, deductive, and integrative methods. Findings: the findings of the research in the dimension of what the artistic education is indicate that the Islamic theory of artistic education consists of three separate and distinct approaches, each of which has an alternative version for the education system of the country. These three approaches are as follows: according to the the first approach, artistic education is realized through the art curriculum. According to the second approach, it is realized by considering artistic education as the approach that governs all aspects of the curriculum. And according to the third approach, which includes the whole life of a person, it is realized through the path of life and artistic behavior of a person towards godliness. This approach explains the reason and the necessity of designing and explaining the Islamic artistic education, especially the principle of existence of the domain and the function of artistic education in its Islamic context and subsequently filling this gap from the point of view of the implications resulting from this function. Conclusion: The theory of artistic education in the formal education system can be used in the curriculum in other areas. Keywords: artistic education, Islamic theory of artistic education, Ibn Arabi, Mulla Sadra, Conclusion: The theory of artistic education in the formal education system can be used in the curriculum in other areas.

The Interdisciplinary Method of Musical Literacy, Education and Artistic Awareness (MILMESA) is developed and applied essentially in higher education (artistic, cultural and teacher training courses), promoting effective endogenous (interarts) and exogenous interconnection (artistic and other non-artistic areas) of an inter and pluridisciplinary matrix, as well as assuming itself as a privileged vehicle of relationship and extension to the community in the frame of the making of artistic-cultural and pedagogical-didactic events in the European, Luso-Brazilian, Luso-African and Hispanic American territories. It was created, tested and evaluated in five consecutive quadrennia (2002–2023), being regularly adapted, adapted and added to according to the observed realities, evolving into the deepening of new concepts and models of intervention in these domains (e.g., Expressive and Proximal Didactics). Using the ethnographic method and the case study, and having the source of data collection as the document analysis of written and iconographic or visual sources (n = 1386) and participant observation, this study aimed to describe and analyse the application and evolution of MILMESA in terms of education and extension to the community. It was concluded that there was a need to promote, with greater regularity and scope, greater technological interaction via digital platforms and social networks, within the framework of the participation of external specialists (e-DEP) and the very experience of MILMESA's experiences and initiatives, giving it a more meaningful and participatory range. [ABSTRACT FROM AUTHOR]

The article theoretically establishes the regularities of the artistic and aesthetic development of children of the preschool age in the development of the basic component of preschool education. The didactic potential of the art as a way of shaping the artistic and creative competence of the child is considered in the article. It shows the peculiarity of this process in the minds of the realization of the emotionally oriented model of artistic enlightenment, reveals the dialogical essence that apart from other factors includes joint activity of a grown-up and a child in an artistic environment. It has been proved that the effectiveness of the process of shaping artistic and creative competence in preschoolers depends on the pedagogical practitioner of establishments of preschool education having a certain level of professional readiness. It is shown that the process of preparing future professionals in preschool education to be able to form of artistic and creative competence of the pedagogical support of the artistic activity of the child should be based on: forming a special position on infusion of art on the development of the personality of the child in the future professionals in preschoolers education; recognition of the importance of the aesthetic development of the personality and the improvement of ability of own artistic activity; the development of pedagogical tools for arts education of children of the preschool age; stimulation of motivation for self-development and constant professional growth; shaping the creation of a developmental aesthetic center at the foundation of preschool education; the development of the effective interplay skills in the area of "child - science - teacher" (self-diagnosis, reflection, active listening, involvement in visual artistic activity) in future pre-school education professionals. The ways of shaping such readiness in the process of professional and pedagogical training of professionals in preschool education were considered by the faculty of the Department of Theory, Technology and Methods of Preschool Education of the Kharkiv National Pedagogical University named after G.S. Skovoroda. They emphasized the role and methods of using innovative technologies for stated purposes, such as: technologies of pedagogical communication (facilitated discussion), technologies of design education, artistic and musical illustration, verbalization of the sense of artists and musical creations, interactive technologies (working in small groups and couples), technologies of productive and creative activity, pedagogical training, initial pedagogical and game technologies, technologies of integration of art, art therapy technologies, technology of "learning without a lesson", modern digital technologies. [ABSTRACT FROM AUTHOR]

This article presents a case study on how to configure a promotional campaign that would benefit the Faculty of Arts at Dunărea de Jos University of Galați. The study explores the integration of market economy principles and organizational strategies into the parameters of artistic education. It emphasizes the importance of considering students both as clients and as inputs/outputs of the didactical approach. The article proposes six pillars for an effective marketing discourse in academic institutions: the connection between artistic education and the art market, the establishment of a commercial art gallery, the creation of an exhibition laboratory, the identification and marketing of student success stories, the development of an institutional brand, and the adaptation of content and student-centered approaches. The study also discusses the need for in-person interactions and the utilization of online platforms to enhance visibility and engagement. Furthermore, it highlights the significance of understanding students' interests and involving pre-university teachers in the promotional process. The article concludes by emphasizing the importance of an efficient marketing strategy to attract potential candidates and foster institutional growth in artistic education. [ABSTRACT FROM AUTHOR]

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

This article operates on two levels, it begins with a historical mapping of the global disseminations of perspective, then it examines a local case: the introduction and adoption of linear perspective in Greece between 1830 and 1860. The analysis of textual and visual sources reveals a complex historical process which includes: artistic transfers between Greece and Western Europe, translations of perspective treatises, the formation of the modern Greek term for “perspective”, the founding of educational institutions, and the advent of photography in Greece. The introduction of linear perspective in Greece constituted a crucial historical event, that shifted local pictorial traditions towards a Westernized naturalism. The examination of these local conditions, aims at a closer description of the global traits of perspective.

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

The 2030 Agenda serves as a guide for current economic policy. Despite this, the dominant political and economic discourse still relies on the market for success. Incentives are being developed to create business opportunities that align with the sustainable development goals. However, funding for these projects ultimately depends on their potential profitability. As a result, economic growth is seen as a necessary condition for achieving the 2030 Agenda. This approach leaves culture and the arts behind, as they are difficult to commodify. The artist job market highlights the tension between the democratic value of the arts and the values of the capitalist system. This challenge is seen in both the field of cultural economics and in discussions of culture's role in meeting the 2030 Agenda's sustainable development goals. To address this, the study proposes incorporating culture into a funding strategy not based on the private market by using the employer of last resort or job guarantee policy for future applications. This will redirect focus from the economic value of the arts to their value for human development, ultimately realizing the goals set by the 2030 Agenda. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science 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 Human Review is the property of Eagora Science 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.)

One of the main objectives of Ecuador's educational policies is to address spatial needs. Both educational policies and laws in Ecuador respond to this through play and art. For these reasons, this article offers a gamification response that allows the integration of different arts in the educational framework. To achieve this it contextualizes gamification and provides a historical development of special needs work in Ecuador. The gamification offers teachers an intervention model based on the anthropological notion of game-based learning. It can address the developmental challenges that are experienced in a natural way, through motivation, commitment, the competition and freedom to fail, which makes learning more flexible. This is complemented by art developed with five artistic fields: music, dance, literature, plastic arts and theater, which help the students to be the center of the process of teaching and learning, as one attempt to rebalance reality and logic, imagination, awareness and experience. This article is developed through a descriptive study, with the purpose of analyzing situations and events, knowing the relationship or degree of association that exists between two or more categories in a particular context. This has been reflected in an experience in the Ecuadorian Educational System, through a Pedagogical Support Guide (PSG), as well as 150 work booklets (WB) developed in the framework of the Covid 19 emergency, will be used for all students of initial level, up to high school, including those with an educational need. The Guide and the booklets had to undergo the validity process of expert judgment method. This was answered by technical teams from the Ministry of Education and UNICEF, as well as teachers from different courses. Finally, a training for teachers was developed. [ABSTRACT FROM AUTHOR]

In times of increased societal expectations of art, art education, like art, is affected by increased pressure on the content of its production. Their quality suffers as a result. Counselling and supervision of students therefore have new tasks. The text presents essential insights into the tense relationship between content and form and derives from these perspectives for action for successful university teaching in art education and didactics. These are illustrated by two examples of student art production in the concept of artistic education. [ABSTRACT FROM AUTHOR]

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This article operates on two levels, it begins with a historical mapping of the global disseminations of perspective, then it examines a local case: the introduction and adoption of linear perspective in Greece between 1830 and 1860. The analysis of textual and visual sources reveals a complex historical process which includes: artistic transfers between Greece and Western Europe, translations of perspective treatises, the formation of the modern Greek term for "perspective", the founding of educational institutions, and the advent of photography in Greece. The introduction of linear perspective in Greece constituted a crucial historical event, that shifted local pictorial traditions towards a Westernized naturalism. The examination of these local conditions, aims at a closer description of the global traits of perspective. [ABSTRACT FROM AUTHOR]

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Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Aula (0214-3402) is the property of Ediciones Universidad de Salamanca and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article discusses how non‐formal arts education attenuates socioeconomic and cultural barriers in a vulnerable context. Although cultural capital has usually been conceived as dependent on high socioeconomic status, we explore the inclusiveness of a project of non‐formal education and how it enhances the capacity of youth to achieve empowerment and self‐confidence through the arts. We analyse the case study of a non‐formal arts educational organisation located in a deprived neighbourhood of Barcelona (Spain) and identify several key factors associated with successful social inclusion and its limitations. We find that the pedagogical processes involved create both learning opportunities and social and interpersonal skills useful for the present and future lives of the young participants. Methodologically, the case study combines non‐participant observation of the different activities of the organisation and semi‐structured qualitative interviews with young people and educators. The article concludes with some recommendations for considering artistic non‐formal education as a tool in any social inclusion agenda.

Integrated Science-Technology-Engineering-Arts-Mathematics (STEAM) education, an educational approach that is steadily expanding and bringing positive results within various scenarios, is successfully implemented and promoted in various countries. However, it has often been noted in the specialized literature that the incorporation of the arts into STEAM proposals is often at the service of the other disciplines, in that authentic artistic content is scarce or non-existent. It is therefore necessary to ascertain the place of the arts within this approach, so as to move towards their inclusion in an authentic manner. Thus, with the aim of knowing the characteristics of STEAM educational proposals and determining the impact of integrated STEAM education on the development of artistic competencies, this study presents a systematic review of STEAM proposals within Primary and Secondary Education. The results show the very limited impact of this approach on arts education; although the evaluation of artistic competency development has had positive impacts, it has been contemplated in very few studies. Our conclusions reflect on some necessary considerations with which to achieve an authentic and meaningful integration of the arts within STEAM education, opening the door to a conversation on what was previously a gap in the literature.

The article examines the conceptual dimensions of artistic culture, presents its constituent elements, functions and purpose as a privileged social phenomenon. As well as, the existential-anthropological significance of artistic culture / art focuses on deepening spirituality, preserving the truthfulness of man, having a fundamental role in humanizing and orienting human personality. There are analyzed the formative dimensions of artistic culture and the ability to influence the human personality through the phenomenological peculiarities of art; its symbolic and philosophical essence referential to the affective and rational background of the human being; the relational interdependence between the level of artistic education and the ability of the artistic activity and respectively the level of the artistic culture of the society / personality

The objective of this work is to contribute to form criteria about arts-education relationship, from the point of view of Pedagogy, in the generic sense of understanding the arts as a field of education. This is an objective that is only resolved from Pedagogy, because, in Pedagogy, the relationship between ‘arts’ and ‘education’ means that the primary is education and therefore the relationship is substantively education. And that means that in the arts-education relationship, whose objective is to educate, it is necessary to integrate the traits of character and meaning which belong to the meaning of education. For this, the area of cultural experience “the arts” must be constructed as a field of education, whether it is a general field of education, a field of general education or a field of vocational and professional education. If we interpret and understand the arts from the perspective of education, the knowledge of education provided by Pedagogy is meso-axiologic, because what Pedagogy does is value the cultural area “arts” as education and build it as “field of education”. Pedagogy is necessarily specified as mesoaxiological pedagogy (medium-valueunderstanding) because the knowledge of education enables us to understand, in the intervention, each medium for its educational value. The objective of pedagogy is to transform information into knowledge and knowledge into education, building fields of education by means of the various cultural areas; and the arts constitute a cultural experience area which is knowable, teachable, researchable, and attainable that can become an instrument, object, and goal of education. The arts-education relationship can be analyzed with pedagogical criteria, and this means that the relationship is substantively education; it is first “education” and it is therefore an educational relationship. Thus, if we want to educate with the arts, by means of the area of cultural experience “Arts” we must achieve in the educatees (people who are being educated and are educated) values linked to the proper meaning of education just like any other school subject with which we are going to educate (it is what corresponds to common education through the arts). In addition, the arts-education relationship is adjectively “arts”, and this means that it provides education with the specific contents of the area of cultural experience “arts”. On the one hand, it provides specific educational values linked to the conceptual sense of the area of cultural experience ‘arts’: what does artistic experience means? how do I become sensitive to arts? How do arts improve me as a person, et cetera (this is what corresponds to specific education through the arts). On the other hand, it provides specialized educational values linked to the theoretical, technological, and practical knowledge of the arts as an area of professional and vocational development (it is what corresponds to specialized education in an art; it is specialized education for an art). The objective of this work is to contribute to understanding the arts as a common, specific, and specialized field of education. In pedagogical perspective, it is possible to distinguish, according to the arts-education relationship, the difference in meaning of the expressions “know arts”, “teach arts”, “educate with the arts”, “educate through the arts” and “educate for an art”. This distinction is relevant to make the educational design of the field of education ‘arts’.

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