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This article documents weaving as a decolonizing epistemic tool for feminist futures that emerges from the work of our collective -- the Feminist Imaginary Research Network. As a collective of feminist adult educators who work in both the academy and women's museums, weaving challenges the centrality of rationality over other ways of knowing and being. Following the teachings of Indigenous women thinkers and artists, including the work of some of our members, we frame weaving as an epistemic tool and aesthetic language for future-making. Weaving acts upon us as a mirror of our history, as an antidote against the supremacy of rationality, and as a tool for collective projects of transformation. As a decolonizing tool, weaving gathers us around Indigenous women's traditional knowledge, but also confronts us with the question of our obligations when the teachings of weaving have been offered to us -- what is our responsibility to the work, to each other, and to this emergent knowledge?

Feminist Imaginaries are psychological and social spaces where creative possibilities are overflowing. They facilitate new ways of being, new ways of knowing and new ways of knowledge creation. This paper embraces a decolonial and feminist approach to storytelling, remembering, reclaiming and retelling; telling the stories of a band of wandering women, journeying to the psychosocial spaces of the Imaginary. Drawing upon a feminist theoretical tapestry, creative writing methods and autoethnographic approaches, the story is an example of the possibilities for Feminist Imaginaries in academic research. Many female students I have encountered naively believe they have social justice and equality but the inequalities are hidden in low paid, part-time work and unpaid care. To explore patriarchy's deceptive nature, reference is made to the canons of Western art and literature as spaces from which to depart. It is from this space and time of departure that our journeys to the Imaginaries begin. Our lived experiences as artists as educators makes our activism all the more urgent to care for racialised, working class and disabled students. Those experiences are illustrated in poetry and visually in an artwork created to accompany this paper entitled, "Remember, shout her name, tell her-story." Furthermore, creative writing is a form of the Imaginary and is used to tell this tale. I suggest, by borrowing from Laurel Richardson, creative writing is a method of inquiry to learn about ourselves and our research. By writing into the topic, rather than reading around and then writing, the imagination can wander and wonder freely. I include a small demonstration of how this process might be performed. In this way the story is open-ended, to be continued, as so too the fight for social and gender justice must continue. Accordingly, I invite you, the reader, to remember your stories, reclaim, imagine them, document and share them.

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.

This article confronts tensions of "risk" and "change" in youth engagement and community arts, towards insights for alternate world-building. We problematize overly instrumental approaches, by examining aesthetic and inductive theories of change arising from "Making With Place," a research creation initiative based in Toronto, Canada. From Spring 2020 to Fall 2022, we engaged diverse young people as artist-researchers in community arts production experiments exploring concepts of place from individual and collective perspectives. We draw here on resulting public artworks, discussions with the artists, and our own field notes to surface the theories of change arising from this work. We identify three emergent metaphors--the garden, the bridge, the margins--and the ways in which they resist dominant discourses in favor of new practices of imagination and repair. We explore how these creative explorations articulate theories of change that refuse forgetting and call forth desire.

One of the two primary skills that are expected of teachers in Quebec is to act as cultural facilitators. This skill is also required for artists who work with teachers and students in cultural activities. However, many teachers and artists feel incompetent in this area. To address this issue, we conducted an action research project to support the cultural competence of teachers and artists through aesthetic education, an approach that aims to promote education in and through the arts. The study involved eight participants, including two teachers and six artists, and aimed to explore how aesthetic education could enhance their professional practice. We gathered data from semi-structured interviews, meeting minutes, logbooks, and activities created by the participants. A qualitative interpretive approach was applied to analyze the collected data. The findings indicate that aesthetic education confirmed and improved their existing practice. They also emphasized the importance of providing experimentation opportunities, time, and guidance to support the cultural competence of both teachers and artists.

In the wake of collective trauma and tragedy, artists may be called upon as "second responders" to facilitate healing and grief for a community. In this article, we explain the artists-as-second-responders discourse, including the messaging of artists feeling useful, art as diversion, and art as healing. Then, using an example of student-artists compelled to make sure "the show must go on" at Michigan State University in the days after a mass school shooting, we critique the second-responder discourse by arguing that such messaging may cause more harm to artists and facilitate problematic escapism. We also challenge the "call to serve" and offer recommendations for how, on days after, institutions can respond in more trauma-informed and supportive ways. In doing so, we argue that, in fact, the show must not always go on.

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.

The study focuses on the preservation and transmission of Gannan Tea Picking Opera knowledge after the Cultural Revolution in 1949 using qualitative research methods such as interviews and observations with seven key informants. The following findings were obtained, which can be divided into three distinct periods: The tortuous development phase from 1949 to 1966 marked significant growth and development, with the establishment of specialized schools and the implementation of the "three reforms" contributing to knowledge transmission and preservation. The survival dilemma period from 1966 to 1976 during the Cultural Revolution imposed constraints on artistic expression, but the return of artists from rural areas and their role in recruiting apprentices supported the continuity of Gannan Tea Picking Opera. Finally, the Ganzhou Gannan Tea Picking Opera Troupe and educational institutions contributed to the revival of this traditional art form during the period of rebirth from 1976 to 2023. Retired artists continue to play a vital role in knowledge preservation and dissemination, reflecting the enduring resilience of Gannan Tea Picking Opera.

Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian's installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian's cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian's installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.

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

This paper explored the relationship between graffiti arts and civic education among young people in Nigeria. A mixed methods approach was employed to generate and synthesize empirical data. The study was guided by Barbara Rogoff's social constructivism theory. Findings indicated that graffiti arts and artists were present in Nigeria, driven by desires for self-expression, financial gain, and training opportunities sponsored by NGOs for up-and-coming artists. Writing styles varied, but drawing, mural painting, and styles uniquely African remained dominant. Despite the difficulty of acceptance of graffiti as an art form due to its earlier association with transgressive activities, its engagement as a method for emancipatory, participatory, cultural literacy, dialectical relations, and creative learning tools in both formal and informal settings demonstrated its educational-supportive capacity for young adults. The values that graffiti express can help reorient young adults in their thinking and social agency. To this end, this paper recommends rethinking the way we view and relate to graffiti arts and writers; incorporating graffiti art education into school curriculum reforms in Nigeria; and using an interactive approach, including new media, to understanding graffiti art produced and displayed by young adults.

Dance is an essential cultural product often overlooked in curriculum and lesson design in favor of sports, literature, visual arts, music, and other products from the target language culture. Given the similarities between the national standards for dance and for learning languages, movement and dance activities merit a greater role in world language classes. The author, a high school Spanish teacher and professional dancer, presents a continuum of approaches for incorporating movement-based activities into the classroom and describes specific activities that teachers can adapt for their classes, even without formal dance training or professional dance experience.

This study investigates the relation between Viola Spolin's methodology of theatrical education and Konstantin Stanislavski's. It elucidates major similarities and diff erences between Spolin's theater games and Stanislavski's system in more detail than previous research. This investigation belongs to a research project on the origins of Spolin's games, which have been widely adopted in contemporary education. The present study reveals that Spolin shared several essential ideas with Stanislavski: the application of improvisation to theatrical training, the objection to director-centered production, the emphasis on intuition and spontaneity in the creative process, the evocative function of the theatrical situation/circumstances, the value of emotion and memory for creation, and the concept of energy exchange in theatrical communication. In addition, she introduced several games highly similar to the exercises in Stanislavski's system, for example, Exposure, Space Objects, Gibberish, and No Motion Warm-Up. Spolin presumably adopted, directly or indirectly, at least some of the key concepts and exercises from Stanislavski's theatrical works. However, she refused some aspects of Stanislavski's system: the teacher's privilege of approval/disapproval, the strong emphasis on imagination, the psychological view of emotion and memory, and the inhibition of direct communication between actors and the audience. Instead, Spolin developed several unique ideas for theatrical education, for instance, teachers as fellow players, contact as a way to get out into the theatrical environment, body memory as opposed to mental retention, and audience members as fellow players. The results of this study thus provide the insight that Stanislavski's system had a more profound influence, whether as a positive or negative model, on Spolin's theory and practice than as illustrated by previous studies. In this way, the present study casts light upon a significant phase of the history of theatrical methods in education and contributes to a better understanding of the characteristics and underlying philosophy of theater games.

This study use the qualitative research approach to collect a vast quantity of data via field inquiry and to classify and statistically analyze the data acquired. The objectives were to 1) examine the contemporary state of Qin'an Xiaoqu singing. 2) Analyze the inheritance of Qin'an Xiaoqu's singing. The study's findings are as follows: 1) The current status of Qin'an Xiaoqu. With the utmost attention of the Qin'an County People's Government. Since the 1980s, Qin'an Xiaoqu has gradually expanded to the important stages of counties, cities, provinces, and the nation. Based on the accomplishments listed above, Qin'an Xiaoqu's development is relatively positive. According to the artist interviews, the majority are affected by others around them. 2) Qin'an Xiaoqu's inheritance status extends to various middle schools and elementary schools in Qin'an. Most students can sing adequately. Currently, the Qin'an County Government and the Qin'an County Cultural Center are hosting the "Intangible Cultural Heritage" event with the intention of fostering a strong environment in which the entire community can participate, pay attention to, and preserve and pass on excellent traditional culture.

This article examines three picture books: "The Dot" (2003) by Peter H. Reynolds, "Art & Max" (2010) by David Weisner (2010), and "The Shape Game" (2003) by Anthony Browne, to see how ideas about creativity are conceived of and pictured for children. Various ideas about creativity and the creative process are encoded in these multimodal texts: the idea of a creative genius putting their unique stamp or signature on the world, the idea of an apprentice artist learning to use the tools of the trade, and the idea of the artist as a playful manipulator of cultural signs. Each of these picture book encodings of creativity has implications for a classroom pedagogy that seeks to encourage creativity and nurture quality creative output.

Drawing from six-months of action research with spectacle theatre-makers in Chicago, this study explores multimodal, expeditionary practice of teaching artists who apprenticed girls through Redmoon Theatre's Dramagirls program. Concepts of new literacy design and aesthetic experience illustrate teaching in socio-semiotic and material worldcraft, set in motion via intermedial, expeditionary platforms: Imaging, Games, and Dramatizing with Objects. Ethnographic, arts-based analysis of discourse scenarios reveal an emerging aesthetic playground, where teaching artists afford girls imaginative schema to construct socio-semiotic material, felt realities and cultural affinities for a girls' utopia. As this hybrid form of theatre is seldom explored as an aesthetic literacy context, Dramagirls' worldcraft offers pedagogical models for significant youth designs and inquiries.

The study's objectives were to develop a local curriculum for teaching Korat songs in Thailand as well as evaluate and certify that curriculum. Questionnaires, observation forms, interview forms, and evaluation forms were used as study tools. The data will be analyzed for research purposes. The results of the research were presented descriptively, analytically, and statistically. According to the results of the study, the local curriculum development for Korat song consists of two steps: basic fact research and analysis, and curriculum creation and certification. Course content includes the background of Korat songs, the legend of Korat songs, various aspects of the Korat song, resources for studying Korat songs, distinct dialects, succeeding artists, melody singing, and playing and singing Korat songs. The outcomes of the local curriculum evaluation for Korat songs According to the agreement of nine experts, the distinctive Korat songs of the Korat people were important for their participation in education management in the current period and to increase the next generation's knowledge of Korat songs, whether in the province or elsewhere in the province. The evaluation results were suitable to an extremely reasonable extent. The mean is 4.42 and is usable for practical reasons.

This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce's (1991) sign modes showed the student artists' preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos' resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists' choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.

Playing video games is one of the most popular leisure activities across the world. Video game music (VGM) is a musical art form prevalent in popular culture, and there is potential to use it for the music education of students. Using informal music learning (Green, 2002) and online participatory culture (Jenkins, 1992/2013) theories as grounds for inquiry, this multicase study explored how musicians used the music of "Undertale"--a popular 2015 independent video game created by Toby Fox--to inspire music making by publishing YouTube videos. Twelve case studies were conducted using methods outlined by Robert E. Stake (1995; 2006), each centered around a YouTube channel managed by creators who published "Undertale" music video covers. Data were analyzed around three themes: learning how to create for YouTube, creating covers of "Undertale" for publication, and interacting with others within the VGM community. By exploring the processes of VGM cover artists who published on YouTube, music educators may be able to better guide students to develop skills for publishing content on the internet and connecting with others in meaningful ways online.

Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today's rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.

This article evaluates Make it Happen Summer School according to Bernstein's writing on classification, framing, and recontextualisation. The project was a collaboration between a university and an Arts Council England National Portfolio Organisation (NPO) that aimed to develop a curriculum for creative practitioners so they could learn to propose successful socially-engaged arts projects for funding and commissions. NPOs are arts organisations that are funded by the UK Government and the UK's National Lottery via the Arts Council England. This article draws upon quantitative and qualitative data collected in relation to this project to evaluate the curriculum and pedagogy. In order to do this, models developed from Bernstein's work guide the analysis of the findings. It was found that while many gained powerful knowledge from the project, some did not. The processes of recontextualisation demonstrated how ideologies based on accountability and performativity shaped the curriculum reflecting the depoliticisation of socially-engaged practice.

The art review is a genre that describes the artwork under discussion, educates its readers, as well as interprets and evaluates the work. It is a genre that plays a crucial role in the art community as it publicizes art, promotes artists, educates the public and enhances their appreciation of art. This study investigates this underexplored genre through the move analysis of a 67,807-word corpus of 70 art review texts collected from online art magazines and online newspapers containing an art review section. The study reveals seven moves and seven steps found in the art reviews in the corpus: heading (Move 1), describing the work (Move 2), providing external information (Move 3), providing the artist's background (Step 3.1), providing general knowledge (Step 3.2), discussing a past event that influences the work (Step 3.3), mentioning quotes (Step 3.4), mentioning other reviews (Step 3.5), interpreting the work (Move 4), judging the work (Move 5), providing evaluative comments (Step 5.1), recommending or disrecommending the work (Step 5.2), expressing general opinions and thoughts (Move 6), and sharing the writer's personal experience (Move 7). The results also show no common move patterns, indicating that the genre allows fluidity and creativity in structuring the content.

The purpose of this paper is to better understand how emerging artists use information to navigate the transition out of university, using their changing ideas of failure, success, information literacy (IL), and transition to frame the qualitative data. A literature review is used to frame the current understanding of emerging artists and feed into the creation of the interview questions. Four emerging artists participated to elicit qualitative accounts. Descriptive and process coding was used to analyse the interviews to form the findings. The findings present how emerging artists use information to shape their criteria for success and failure during the transitional period after leaving art school education. Three core information practices -- sharing, feeding, and balancing -- were observed within the interviews. With this framing insights into the emerging artists' past (learning from historic failings) and the future (envisioning future success) begin to be formed. Furthermore, this paper contributes to the knowledge of emerging artists' information practices, including the impact of their digital media usage and self-referencing as IL. The study uses the work of other IL scholars with the information practices of emerging artists and frames them through three key ideas: IL, transition, and success and failure. This intersection of study has not been explored previously. The results will provide direction for information professionals serving emerging artists, and for art educators preparing their students for their careers outside of university. It also deepens the understanding of the field of transition and information practices of new practitioners across fields.

The book, "Creating Third Spaces of Learning for Post-Capitalism: Lessons from Educators, Artists and Activists" seeks to explore counter-hegemonic social spaces, or what some call third spaces (Anzaldua, 1987/2021; Bhabha, 1994/2002; Soja, 1996) that have been created largely by social, community and artistic activists to prefigure a post-capitalist, multi-racial democracy. Third spaces are ideally sensitive to the ways that various forms of oppression are intersectional. This means that if they prefigure a post-capitalist society, then they must also strive to be post-patriarchal, post-racist, post-homophobic and transphobic, as well as raising awareness about the global environmental crisis. While many groups foregrounded issues of race, ethnicity and class, they also integrated programs to raise awareness around gender, disability, and sexual orientation. In this article, Carol Anne Spreen describes her study on third spaces, including the characteristics they commonly share.

This study aimed to explore the magazines and topics that female college students like to read, and the topics that senior and junior high school reading textbooks contain. Findings of questionnaire-surveys with female college students at King Saud University revealed that 77% of the students read women's magazines; 77% like to read about fashion and make-up; 66% read articles about movies, singers, and actors; 24% read poetry; 1-4% read religious, educational, literary, political, computer and internet, and historical articles. Analysis of the reading schoolbooks showed that 10% of the reading texts are devoted to Quranic verses and Prophet Mohammed's Hadiths; 29% are about Islamic history; 13% focus on general topics, and 11% deal with classical literature. It can be concluded that female college students like to read magazines and topics that prevail in satellite T.V. broadcasting and social media such as Instagram. Both magazines and satellite T.V. shows marginalize young people's local culture and distract them from vital social, and political issues. There is a discrepancy between the types of topics students read at school and those they like to read at home. Therefore, this study recommends that reading texts in the school textbooks be re-selected, re-constructed and re-designed in terms of layout, colors, pictures, paper quality, and choosing an attractive cover. It also recommends the utilization of online courses, blogs, mind-mapping software, mobile reading apps and audiobooks, digital reading, global topics and global culture, speed reading practice, and reading from multiple resources. High school and college students should be introduced to new books, magazines, and e-books. Extensive reading of serious topics should be started from the primary grades; reading texts should be diversified; developing students' appreciation skills and visiting book fairs, public libraries, publishing houses, cultural centers should be emphasized as well.

In this article, we, as Asian American visual arts and social studies educators, propose an Asian American Critical Pedagogy framework and its four principles. Building on critical race and social theories and pedagogies, we developed the four principles: "Asian American critical consciousness," "counternarratives and reclamation," "heterogeneity and intersectionality," and "joy and wellness." The four principles are the outcome of our collective theoretical exploration, autobiographical reflection, and the analysis of contemporary Asian American artists and their works. We hope the principles serve as a theoretical framework for future research and pedagogical exploration to recognize and expand the authentic voices and experiences of Asian American art educators and students and to offer insights for intersectional research with other marginalized communities.

This article looks at the meaning of solidarity as related to the Egyptian uprising of January 2011. Through participant interviews, field notes, and observations, the author examines the role of grassroots theatre in enabling the aspirations of the revolution to live on amongst its players, and despite more stringent state control over the arts and freedom of expression. The author examines how solidarity can take different forms through silence, witnessing, and embodied creative works.

As an artist/academic, I discuss my pedagogical interventions in teaching Odissi through studio, theory, and praxis courses to populations across university students and professional artists. Through interdisciplinary research, I work at the confluence of historical and contemporary forces. Casteist, fundamentalist, racist, sexist, ablist, and hierarchical modes of teaching and learning plague Odissi as part of the field popularly known as "Indian classical dance." The appellation of "classical" is itself a byproduct of complex social and cultural forces across Hindu majoritarianism, historical nostalgia, and anti-colonial nationalist resistance. While dance scholars have unpacked this historical complexity to some extent, I apply contemporary trends in performance and pedagogy that have received little scholarly engagement. I ground my work in an ethos of community building creating through lines across the diasporic Indian community and academia. This way of working presents questions of access and ownership as it bumps up against historical entanglements.

Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by artists to art students, setting this within a long view of the institutions of art and art training. Three partial models of the art educator and their associated qualities can be abstracted from medieval, early modern, and recent periods. (1) The "Exemplar": possessed of practical skills and habituated understanding and judgement. (2) The "Master": having in addition to the exemplar's qualitieserudition and cultivated taste. (3) The "Critical-Advocate": theory-oriented, and self-consciously progressive. Good art (be it in terms of expressive, imaginative, formal, representational or other relevant aspects) has the power to transform makers and observers, and to encourage and deepen self-examination and self-understanding. Good art teaching should be alert to and directed towards these benefits.

This paper explores the British art patronage scheme "Pictures for Schools," which sold affordable works of art to educational buyers at annual exhibitions between 1947 and 1969, focusing on the work of "Pictures for Schools" founder and organiser Nan Youngman (1906-1995) as an artist, educationalist and activist. It shows that, while social and cultural changes in post-war Britain around the development of the welfare state provided a receptive environment for "Pictures for Schools," it was largely driven by Youngman's personal convictions and experiences. This paper traces the ideological motivations behind "Pictures for Schools" to the interwar period, exploring Youngman's involvement in two progressive organisations, the Artists' International Association (AIA) and the Society for Education through Art (SEA), which enabled her to campaign for progressive art and education. In doing so, it positions "Pictures for Schools" as a socially engaged intervention into the post-war education system in England and society.

The intersection of arts and public policy is three-dimensional. A multitude of direct subsidy, regulatory, and support programs are advocated and managed as "arts policy," but a wide variety of non-arts-targeted realms such as tax law, public education, public health, and urban development and housing programs importantly influence artists and their encounters with their audiences. These interactions, and the complexity and thorniness born of the difficulty of clearly categorizing the arts as either market or non-market goods, as well as our difficulty in their valuation, make a particularly good area for teaching about public policy generally. And finally, policy of all kinds is too important to be made without the insights and guidance of artists, whose job is to show us the society we live in and who we are. Our "Arts and Cultural Policy" course explores this landscape for students in both fields.

Arts partnerships involving teachers, artists and arts organizations continue to be popular as a means of delivering arts education. Acting as an intermediary between schools and artists, arts brokers can be crucial to the successful implementation of these partnerships. Characterized as individuals who can act as channels for innovative practice, arts brokers can potentially support teachers to take risks, build capacity for reflection and develop agency as arts practitioners. This article examines the role of the Creative Associate -- an arts broker within an Irish arts partnership ("Creative Schools-Scoileanna ldánacha"). Data was collected using semi-structured interviews in a purposive sample of eight Irish primary schools. Using a framework put forward by Sinclair et al., the support provided by the arts broker is critically analyzed. The establishment and development of stakeholder relationships is explored while emerging challenges are debated and discussed. Findings from this study indicated that the success of the arts broker is underpinned by their ability to build and nurture relationships. By 'bridging the gap' between teachers, schools and artists, this article argues that arts brokers can ensure partnerships have a sustained, meaningful impact on the enhancement of arts education in schools.

Mathematics remains a gatekeeper in schools; educators and researchers must carefully consider how diverse mathematical practices can be recognised and valued. To explore how math is recognised in the craft of weaving, which has been described as highly mathematical with roots in innovations by women, I interviewed 22 experienced weavers about their experiences. Participants also provided images of items they wove. Through qualitative analyses, data revealed that adult weavers describe and use math in their weaving in simultaneous and overlapping ways: arithmetic and calculations, image and shape transformations, and multiple embedded patternings. When educators understand math engagement in broader ways, we can begin to better value intellectual work and open up more potential future pathways for learners in mathematics. This may also help us expand school-based framings of mathematics to in ways that honour learners' intellectual work and provide more space for learners to be allowed to be "math people."

Artificial intelligence (AI) has breached creativity research. The advancements of creative AI systems dispute the common definitions of creativity that have traditionally focused on five elements: actor, process, outcome, domain, and space. Moreover, creative workers, such as scientists and artists, increasingly use AI in their creative processes, and the concept of co-creativity has emerged to describe blended human-AI creativity. These issues evoke the question of whether creativity requires redefinition in the era of AI. Currently, "co-creativity" is mostly studied within the framework of computer science in pre-organized laboratory settings. This study contributes from a human scientific perspective with 52 interviews of Finland-based computer scientists and new media artists who use AI in their work. The results suggest scientists and artists use similar elements to define creativity. However, the role of AI differs between the scientific and artistic creative processes. Scientists need AI to produce accurate and trustworthy outcomes, whereas artists use AI to explore and play. Unlike the scientists, some artists also considered their work with AI co-creative. We suggest that co-creativity can explain the contemporary creative processes in the era of AI and should be the focal point of future creativity research.

The authors explored how art centers for people with disabilities -- a form of day program -- could collaborate with art museums to create inclusive and integrated programming with artists from the broader community. Museums are in a particularly salient period of a paradigm shift, becoming more socially responsive and considering audience engagement in terms of inclusion and diversity rather than simply numbers of visitors. Art centers for people with disabilities, which provide mentorship and exhibition opportunities, are often positioned within outsider art discourse. Critical pedagogy, Universal Design for Learning (UDL), and constructivism undergirded the theoretical framework of the research project. Transformative possibilities abound when visitors with disabilities are centered in the design phase of art museum education programs.

This paper reports on a study that explores how artists might best support very young children's engagement in integrated arts performances. It aims to contribute to a better understanding of the ways in which artists work with very young children in performing arts spaces. The study was designed to intimately examine a work with and for a very young audience. Through a combination of reflective narrative and analytic discussion, this paper will demonstrate how a collective of teaching artists supported very young children's engagement by positioning them as co-constructors of artistic experience.

This article considers a pilot research project that examines the successes, failures, and best practice approaches for delivering online performing arts education experiences to young people around Australia. In conversation with 15 teaching artists and 18 youth-based arts organisations nationally, it evaluates the challenges and innovations in live online arts education experienced during the COVID-19 pivot. In doing so it examines pedagogies that foreground embodied and playful collaboration and diversified access for participants. It recognises the role of youth arts in reshaping creativity learning and opens considerations of the role digital educations may play in increased arts accessibility.

This paper investigates the preparation of Australian undergraduate university arts students for a life challenging arts-teaching and creative experience in Timor-Leste. It explores university teaching practice and how we may achieve better student experiences in preparation for their futures as teaching artists. This narrative inquiry research hears the voices of the students through their individual, personal stories. The emerging teaching artists articulate challenges, identify shifts in beliefs and values, and confirm skills that are transferable to cultural arts teaching contexts in the future. In all, the research has resulted in 46 recommendations, some minor, and some requiring more significant structural changes that affect course delivery. For the purposes of this paper, we reflect on and discuss three of the major findings and recommendations in the pedagogical, cultural, and artistic areas of the project implementation. As such, this paper represents a reflective analysis of some of the findings regarding curriculum design within this project.

This article explores and develops possible additional understandings of the term "artistic citizenship" as: 1) a lens to promote critical reflection; 2) a developing inclusive artistic identity; and 3) action for change. First, I provide a general overview of artistic citizenship in order to familiarize the reader with its current definitions and critiques. Second, I propose and develop three possible complementary understandings of the term by drawing parallels between different aspects of scholarship in citizenship and in the arts, exploring existing connections between the two fields, and developing new links between them by extrapolating relevant shared challenges, critiques, and possibilities from discourses about the former into the latter. Finally, I discuss how other conceptualizations of artistic citizenship could have been possible, and how replicating the processes presented in this article with other multidisciplinary terms--that link music with different fields of knowledge--may expand their possibilities as evolving, multifaceted, flawed, and "full of potential" assets that can keep enriching music education practice and scholarship. [Note: The page range (80-101) shown is incorrect. The correct page range is 81-101.]

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.

Place has long been noticed, made, developed, and narrativized in favor of settler majorities' economies and hegemonies. Disregarding Indigenous presence and land, the terror on the land continues in the form of dislocation and dispossession of Indigenous, Black, and other minoritized communities of color, along with racial segregation and alienation. Drawing on the scholarship of land-based and decolonizing education, this article provides the conceptual groundwork for a form of art education theory and practice concerned with place-based social justice and equity. Particularly, I propose land-based art inquiry as a decolonizing pedagogy that helps critically assess settler colonial ways of sharing and making place via spatial-temporal injustice and the normalization of settler colonial logics that pervade our daily lives. The art inquiry generates new and critical ways to engage with the land as a site of art and museum (educational) practice as exemplified in the three different sites--a graduate students' collaborative art-based project, a contemporary artist's praxis, and museum praxis. Graduate students' site-specific installation and contemporary artist JeeYeun Lee's mobile walking are artistic interventions to public places that critique settler narratives and re-story the place. They highlight the ways in which land-based art inquiry can help individuals (re)connect with and (un)learn the stories and politics of their relationships to the land, thus troubling the settler colonial territorial imperatives. Also, by bringing land-based art inquiry into the investigation of the museum as another settler colonial place seeks and brings understanding of contemporary Indigenous-led collaborative museum spatial design and (educational) praxis for decolonizing possibilities.

Dance is a multifaceted creative act that has been used to communicate emotions throughout human evolution. Despite this history, there has been no empirical exploration of components of dance that allow it to communicate emotion. We address this with a mixed methods study in which a quantitative study with dance viewers builds upon qualitative findings with dance artists. Qualitative analysis revealed proposed components of dance responsible for emotion communication are "narrative content," "social interaction," "emotion portrayal intent," and "textural quality of movement." These elements were then manipulated using dance video stimuli to quantitatively test viewers' emotion perception accuracy. Results revealed "emotion portrayal intent" (i.e., expression intent in dance creation) is an important factor for viewers to accurately perceive emotion, regardless of "narrative content." While prior studies have focused on the perceiver's role in emotion perception from dance, this is the first study to demonstrate emotions are perceived from dance based on "intent" during dance creation. Findings highlight the nuanced structure of emotion communication in dance, for which we pose a theoretical framework. Together, dance holds possibilities for studying distinct mechanisms for creative communication that may be important for the study of generalized affect communication outside of creative arts contexts.

The professionalism of artists and further education (FE) teachers is often questioned. This research will evaluate the impact this has on artist-teachers working in FE. Schön defines a professional as an individual who works in a highly specialized occupation. This article examines how this applies to artists and FE teachers, with reference to historical and contemporary cross-disciplinary research. Published research focuses on professionalism in terms of meeting sets of criteria. However, research participants within this study were more concerned with the activities undertaken by artist--teachers and how these reflected their professionalism. The research findings focus on the perceived professionalism of artist-teachers in adult community learning (ACL), a sub-section of FE in the United Kingdom that encompasses adult and community learning delivered to adults aged 19+ but local authorities or general FE colleges.

This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist-teacher, artist teacher, artist-educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher-led teaching to student-centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.