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This study aims to determine the perceptions of fine arts high school music department students about the concept of "instrument training" through an alternative measurement and evaluation technique "Word Association Test (WAT)". In this study, the survey model, one of the qualitative research methods, was used. The study group of the research consisted of 110 students studying at Nevit Kodalli Fine Arts High School Music Department in the 2021-2022 academic year. The data were obtained by applying the "Word Association Test (WAT)". Firstly, WAT was explained for informative purposes during the application. Then, the students were asked to write the first 5 words that they thought were related to the key concept of "instrument training" within 1 minute. Afterwards, they were asked to make a sentence related to these answer words. The obtained answer words were analysed by content analysis technique. As a result of the analysis, the answer words that the students associated with the key concept of "instrument training" were grouped under 9 categories (teaching materials, performance anxiety, motivation for the instrument, social skills, attitude towards the instrument, technical skills, student capacity, education and training). According to the order of these categories, the most frequently associated answer words with instrument education were instrument, etude, excitement, working, cooperation, happiness, note, talent and teacher. Under the category of performance anxiety and motivation related to the instrument, the students showed a negative distribution on the word "tiring". It was observed that the students had a positive cognitive structure in all categories.

Faculties of Fine Arts in Turkey train artists and designers by using the universal language of art, taking into account scientific, artistic and cultural developments, developing students' creativity and productivity. In addition to the problems encountered by fine arts students and artists, who have creative personality elements, during the performance of art and the application of methods and techniques available in the literature, the level of use of technology will directly affect their artistic performances and activities. The aim of this study is to examine the creative personality traits and internet usage status-purposes of university students studying in Fine Arts Faculties on a relational basis. The study, which was conducted in the relational survey model, included 205 students studying at the fine arts faculties. Creative personality traits scale and internet usage intentions questionnaire were used to collect the data of the study. According to the findings of the study, the creativity personality traits of the participants are at a high level. In addition, creative personality traits of the students show partial differences according to gender variable. According to another result of the study, it was seen that the students of the Faculty of Fine Arts use "Social networking sites", "Video sharing sites", "Photo sharing sites" applications at a high level. Again, the internet usage purposes of the participants differ according to the gender variable. Finally, significant relationships were found between the participants' creative personality traits and their internet usage purposes.

This study addresses the problem of insufficient emphasis on art courses in helping students develop 21st-century skills. As globalization continues, industries increasingly interconnect, creating a necessity for 21st-century skills. Universities are responsible for equipping the next generation of scholars with the soft skills needed to succeed, such as creativity, adaptability, innovation and collaboration. However, universities disservice students and their future employers by isolating departments and overlooking collaboration opportunities. Rather than this narrow-minded approach to education, academia must challenge the status quo and reflect on the needs of an increasingly globalized world. This research study used a qualitative single case study methodology based on constructivist learning theory and design thinking to analyse the effect of art education courses taken by non-art majors on students' development of 21st-century skills. The literature examines why a lack of emphasis on the arts exists and what skills students gain through arts exposure.

Fine arts high schools are schools that form the basis for vocational music education given in higher education institutions. These schools form the basis for higher institutions; therefore, it is of great importance that the contents of their curriculum be of a quality that will prepare them for higher education institutions. Based on this purpose, in this study, eight music department programs that have been reached in the fine arts high school music departments from their establishment to the present day were examined comparatively. Document analysis method was used in the data collection process of this case study model research, one of the qualitative research methods, was used. The data obtained by document analysis were analyzed by content analysis. When the findings obtained from the research were examined, it was found that the most striking results were that the biggest change at the first and second-grade level was in the foreign language course, as a result of the separation of high schools as "Music" department, "Turkish Folk Music" department and "Turkish Art Music" department in 2016, the piano course at the third-grade level was only included in the third and fourth grades of the music curriculum, and the course, which was under the name of "choir" until 2005, was divided into "Western Music Choir" and "Turkish Music Choir" after 2005. Suggestions were given in line with the results of the research.

In this study, 21st century skills and technological tendencies of the students of the Faculty of Fine Arts were examined with a relational approach in terms of some variables. With this aim, the 21st century skills and technological competences of the students of the Faculty of Fine Arts were compared in terms of gender and grade level variables. In this respect, this study is a comparative relational survey research. The study was carried out with 198 students studying fine arts at different universities in Turkey. The 21st century skills scale and the technological susceptibility scale were used as data collection tools. In the study, t-test for independent groups, one-way analysis of variance and correlation analysis techniques were used for data analysis. In the study, it was found that the 21st century skills of fine arts students were relatively high, while their technological susceptibility was moderate. It was found that the 21st century skills and technological predispositions of the participant students differed in terms of gender and grade level. Finally, a positive, significant and high-level relationship was found between the 21st century skills and technological predispositions of the students of the Faculty of Fine Arts.

Just as technology has entered every aspect of our lives today, it has significantly changed the fields of art and graphic design as well. Developing technologies and new teaching approaches have also affected fine arts education and therefore the students studying in this field. The aim of this study is to examine the Technological Pedagogical and Content Knowledge (TPACK) competencies of students studying at the Faculty of Fine Arts. The study, which was conducted with the survey model, was conducted with the participation of 212 students studying at the Faculty of Fine Arts of Necmettin Erbakan University and Selçuk University in the 2022-2023 academic year. According to the findings of the study, the TPACK competencies of the students of the Faculty of Fine Arts are at medium level. The technological knowledge of the participant students differs according to their gender. The technological knowledge of male students was found to be significantly higher. In the study, TPACK competencies of the students showed significant differences according to their grade and achievement levels. Students in 3rd and 4th grades were found to have high TPACK competence compared to students in lower grades. Again, students with high achievement level obtained high TPACK scores compared to their middle and low achieving peers.

The aim of this study is to examine the creativity of university students studying in the field of fine arts in terms of demographic and school factors. In this context, the Kaufman creativity areas of the participant students were examined through a comparative approach on the basis of the comparative relational survey research model. The study group of this research consists of 241 Fine Arts Faculty students. Kaufman Creativity Fields Scale was used to collect research data. According to the analysis of the data, the academic creativity of the participating students was low, their mechanical creativity was at a medium level, and their artistic creativity was at a high level. In addition, significant differences were found in the creativity areas and levels of the students according to gender, department type, class and achievement levels. It was observed in the research that the academic creativity of the participating students was low. In this context, activities and practices for students' skills such as research, problem solving, and using the scientific method in original processes can be included in all departments of the relevant faculties.

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.

As instructors of Jewish Studies struggle to find ways for their students to be more engaged in their learning, it is worthwhile for educators to consider whether art-based assignments are effective at reaching this goal. This article examines what students gain when their study of a biblical chapter is paired with the generation of an art product on that chapter. The study evaluates a pictorial summary assignment to retell the narrative and a dramatic production assignment to analyze the messages of a biblical chapter. The findings suggest that art-based assignments help students read Jewish texts more closely and make more personal connections to them more so than when no pictorial component is included with verbal-based assignments.

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.

In this study, we explored possible differences between students studying the fine arts and their non-art major peers on three separate variables: mental health, stress, and time spent on academic work. We found that students who study the fine arts report higher rates of mental distress, stress, and spend more time on academic work than do their non-art major peers. We offer recommendations for therapists working in university and college counseling settings.

This article examines the creation and reception of "The Stream You Step In," a digital series co-produced by Outside the March for University of Windsor students and performed live over Zoom in 2020. While Zoom is assumed to be a care-less medium, we argue that it offers new, altered modes of caring through its disruption of boundaries and de-hierarchisation of many theatrical and training norms. Combining reflections on dramaturgy, directing, and pedagogy with empirical data on audience reception, we suggest how the lessons of pandemic performances might benefit our in-person classrooms and stages.

In 2019, a new national Ethics Review Authority (Etikprövningsmyndigheten, EPM) was created in Sweden. In 2020, Sweden's "Ethical Review of Research Involving Humans Act" was revised, tightening this legislation, and increasing penalties for its infraction. This article draws on empirical material generated by artistic research conducted with a norm-critical contemporary music ensemble. Two of the musicians who collaborated with this research identify as disabled. Consequently, in accordance with EPM, my artistic research was subject to mandatory ethics review. Reflecting critically on my own experience of seeking ethical approval for this artistic research project, I show how EPM's process of ethics review enacts scientific boundary work in Sweden that privileges the interests of academic disciplines that are already well-established. As a corrective to EPM's scientific boundary work I propose the application of an ethics of care that recognises the complex relationalities that exist between research institutions, researchers and research participants.

The proportion of students studying in higher education institutions who are experiencing mental health needs is increasing and becoming a serious concern. Using participatory arts projects may be key to enabling students to maintain well-being despite the pressures inherent in their student role. Therefore, this study aimed to ascertain whether such a course could be feasibly developed within a university setting, and to examine how esthetic experience influences university students' well-being. To understand the differences in students' esthetic experience and well-being before and after engaging in participatory art, this study implemented an intervention and collected quantitative and qualitative data. A total of 39 students volunteered to participate in the study. The results revealed that esthetic experience predicted student well-being, as the more students had an esthetic experience by concentrating on a particular artwork, the more effective it was in terms of enhancing their well-being. In addition, there was a significant difference between the pre- and postintervention, where students' esthetic experience and well-being improved after completing the art activities. These findings have implications for our understanding of university students' well-being, as well as the importance of considering participatory art, on its own, as a target for intervention.

This text presents a novel experience in a university in the University of Granada (Andalusia, Spain) aimed at facilitating learning from the potential of the arts and applied theatre through the creation of a space open to the university and non-university community. The description and analysis of this experience as a case study shows us that the arts in Higher Education are presented as a disruptive element that can challenge the rules and logics of time, space, relationship, and learning established in universities. In dialogue with Foucault's or Santos' ideas, in this text we propose this experience as one in which art subverts the logics of neoliberal production of knowledge, presenting pedagogical actions and solutions that are more committed to social justice and to the value of the arts as a way of knowing our closest reality.

The ambiguous identity of the digital media field, the ubiquity of media, and rapid and persistent technological change and innovation pose inimitable challenges for academic programs in digital media. Digitization of media is an underlying impetus for today's rapid innovation that compels related academic programs in higher education to re-examine themselves to keep pace and to better understand their epistemological foundations. Digital innovation helped spur renewed awareness of human-centered design to solve ill-structured, highly complex problems. Design and Design Thinking (DT) provide a potential framework to aid in academic program assessment. In this paper I explore precepts of design and DT as a potential frame of context to aid in curriculum design. I present a case study example that examines the process to assess a digital media curriculum using a DT framework, an iterative process involving students, faculty, and academic and industry partners.

Defined as the tendency for structures and groups to "grow more alike, to develop similarities" policy convergence is a recognized factor in policy analysis across fields. In the arts education sphere, this can mean adopting similar curriculum standards, imitating an after-school arts program, or even borrowing a large-scale metropolitan arts education partnership model. I argue that policy diffusion helps to illuminate policy convergence in the arts education milieu. In this policy analysis essay, I first detail the conceptual underpinnings of policy diffusion. Next, I offer specific examples from arts education and attempt to show how they exemplify mechanisms of diffusion. I then argue that there are specific contexts/structures within arts education policymaking that facilitate diffusion, and I conclude with discussion based on the analysis.

This paper examines the issue of student choice across subject streams in recent government reforms to China's National College Entrance Exam (NCEE). Utilizing data from a case study of an urban high school in Beijing, it argues that student choice of subjects across previous streams of science or fine arts runs counter to existing institutional structures at the secondary and higher education level, consideration of pedagogical techniques that differ by streams, and a "bias" for science grounded in sociohistorical concerns of national development.

Our article explores the impact of the global health pandemic on our five-year, multi-sited, collaborative ethnographic study titled "Global Youth (Digital) Citizen-Artists" and "their Publics: Performing for Socio-Ecological Justice" (2019-2024). We illustrate how our arts-led, youth-driven ethnographic "methodology-in-motion" responded to a destabilized world by planning, listening, and seeing differently across local and global research contexts through virtual fieldwork. By focusing on reciprocity and the relational, we examine how researchers, youth participants, and global collaborators, managed to "lose" and "find" each other through creative, artistic encounters.

The purpose of this article is to share how two friends approach creativity in their professional lives in research and in the arts, and what we have learned through insights into places that impact this work. Our different approaches are reflected in our positionalities: one author is an emerging arts-informed researcher and university instructor, and the other author is a practising fine arts craftsperson and part-time faculty member. Our close friendship and ongoing conversations serve to connect our approaches to working with the arts, even as our attitudes to creativity and learning are demarcated. Relayed in the form of dialogue in response to guiding questions, this article is an expansive discussion of what work in the arts can look like, and how the interplay of creativity and place afford as-yet-untapped pathways of understanding that better suit contemporary conditions of life and study.

Traditional houses are part of the culture of every country. Indonesia is a country that has a variety of traditional houses. The traditional Banyuwangi house is known as the "Using" house. This house can be explored in terms of ethnomathematics and used as part of learning mathematics. This research is focused on knowing and describing mathematics learning that integrates the ethnomathematics of "Using" house, thematic, and connected models. The research was also conducted to determine the effectiveness of the learning that has been carried out. The results showed that the use of the "Using" house in ethnomathematical-thematic-connected-based mathematics learning: (1) could be done using the trivium concept (literacy, matheracy, and technoracy); (2) can be done thematically by integrating four subjects (Indonesian, social sciences, fine arts, and mathematics); (3) can be connected by integrating two mathematical concepts (two-dimensional geometry and arithmetic); (4) through seven phases of learning; and (5) effective because 80% of students can solve problems as expected.

Students of fine-art education may have developed in creative circumstances however, it is important to grow character enculturation. The study is aimed at designing character education for students of the fine-art education department. The study uses the descriptive research approach. Research data are obtained from interviews with lecturers and students of the practicum classes to get information on character education models. To identify the character types that are needed, questionnaires are dispersed to students. Data collection is also conducted by observation to find the design of character education for students during the practicum learning process. The objects of the study are character values for practicum learning for students of the fine-art department. Research findings show nine-character values that can be identified; namely honesty, discipline, hard work, creativity, independence, competitiveness, communicativeness, environmental concern, and responsibility. The character education process includes all activities in the practicum class from preparation (for practicum devices), making the art work, art work appreciation, wearing practicum attires, communication ethics, and use of learning facilities by lecturers and students.

We provide a case study of how Carnegie Foundation grants to the University of Alberta (Western Canada) during the Great Depression impacted the university's community engagement practices. Previously unutilized archival sources contribute to a historical survey of the university's Department of Extension as Carnegie philanthropy enabled the establishment of a Fine Arts Division within this department. The many benefits to the wider province, however, were laden with imperialist assumptions around race and the European "canon," and thus contributed to the concurrent development of settler institutions and erasure of Indigenous people's cultures and livelihoods. As Alberta's economy shrinks, unemployment increases, and university funding is cut, it remains unclear whether the desire for new and innovative forms of outreach and engagement seen in the Great Depression still exists today. Concluding, we ask what alternatives to philanthropy we can, as scholars, university employees, and citizens, make available.

In the study, it was aimed to examine Fine Arts High School (FAHS) students' self-perceptions for their musical instruments and their music performance anxiety according to some variables. Also it was aimed to reveal the relationship between their self-perceptions for musical instrument and music performance anxiety. The sample of the research consisted of 273 music department students studying at Malatya Abdulkadir Eris FAHS, Konya Çimento FAHS, Balikesir T.C. Ziraat Bankasi FAHS and Ayvalik Sebahat-Cihan Sisman FAHS. The data for the research were obtained by using the "Self-Perception Scale for A Musical Instrument" and the "Kenny Musical Performance Anxiety Scale". As a result of the study, it was determined that Ayvalik Sebahat-Cihan Sisman FAHS students had lower music performance anxiety than students of other schools. It was concluded that female students experienced more anxiety than male students. In addition, it was determined that as the duration of education increased, the level of self-perception for the musical instrument increased. A statistically significant negative weak correlation was found between self-perception for the musical instrument and musical performance anxiety values. In other words, it was concluded that as the students' self-perceptions for their musical instruments increased, their music performance anxiety decreased.

The aim of this study is to explain the case that preservice teachers will enable alternative experiences to today's visual arts education by using alternative ceramic firing techniques. In this study, qualitative research was carried out using a single-case study during the 2018-2019 academic year. Six preservice teachers were chosen using the criteria of having the necessary knowledge and skills for ceramic training and teaching, and for being educated in the Fine Arts Education Department. In the collecting data part of the research, the techniques of alternative firing such as; fumed firing, raku firing, saggar firing, and obvara firing techniques were practised in the context of this study. The main research data were based on the observation data collected through the process of the practices which were conducted by the artist- researcher. In addition to observations, a data set was gathered to understand and describe the case such as; lesson instruction materials, diaries, self-evaluation forms, and product evaluation forms. The data was analysed using a descriptive framework based on art education and teacher training literature. The findings of the study represent seven themes; "Adaptation of learning to school conditions", "Organising practise steps", "Motivation for creative experiences", "Suggestions for professional practices", "Suggestions for problems", "Adaptability to teaching" and "interaction during the teaching process". According to the findings, it can be stated that the alternative firing techniques transformed into alternative ways for teaching processes in visual arts education through this case. Consequently, the discussion topics are as follows: "Alternatives motivate creative experience"; "Adapting the alternatives to school conditions"; "Organising steps for alternative practises"; Transferring alternative experiences to professional lives".

In this article we present research on Slovenian primary school teachers' opinion about the interdisciplinary approach between fine art and science education. With the help of questionnaires, interviews, and analysis of lesson plans, we determined how primary school teachers use this type of interdisciplinary approach, how often and what their views are. We included 138 primary school teachers from every region in Slovenia. It turned out that primary school teachers in Slovenia use an interdisciplinary approach between fine art and science teaching quite often and consider it useful to achieve different aspects of pupils' development. The study revealed that most teachers find it difficult to consider the educational goals of both fields (fine art, science). They often use the connection between the subjects only on an associative level - they only mention the teaching content of one subject quickly and carelessly, without making meaningful connections and without achieving the goals of both subjects. Content taught in this way cannot be considered a cross-curricular approach in the subject sense.

This qualitative case-study looks at how one preservice teacher uses multimodal counter-storytelling to push back on dominant historical narratives in social studies teaching. It examines how the teacher conceptualizes the use of critical arts and humanities as pedagogical tools to represent historically marginalized voices and disrupt dominant narratives (counter-storytell) in social studies education, and secondly, how they engage with these critical multimodalities in order to counter-storytell in their social studies student teaching. Findings show that preservice teachers can deftly and richly use multimodalities as access for counter-storytelling towards transformative social justice teaching with their students, but that a lack of curricular support and the necessity of content knowledge create challenges which demand greater assistance for educators in this pedagogical journey.

Engaging along with music during lockdown is a kind of common behavior of human beings. This article mirrors the mass perception of music during the specific situation of lockdown in Nepal. The descriptive online survey design was used by taking 136 participants from Fine Arts Campus by purposive sampling technique. Frequency, percentage, and presentation of chars were major statistical techniques used in this research. The finding indicates that most of the participants were enjoying by listening and participating in musical activities during the pandemic. Whatever the purpose of listening, singing, dancing, composing, recording, playing the musical patterns, mass people knowingly-unknowingly connected with music during a lockdown. So, concluded that almost all respondents voted for the need for musical activities and varieties of music for managing their stress.

The purpose of this research is to identify the difficulties in art education at the university due to the transition from face-to-face education to distance education due to the COVID-19 outbreak. The universe of the research is the Faculty of Education Fine Arts Education Department, Conservatoire and the Faculty of Fine Arts undergraduate and graduate students in the spring term of 2020-2021. The sample consists of 715 students from this population who answered the online questionnaire. In the research, "distance education problems" question list was used. The questionnaire consists of 13 personal information questions, and the scale consists of 68 questions in 7 sub-problem areas. The data were collected on the internet using the survey google academic. An announcement was made to the students by contacting the academicians of the relevant department. Frequency and percentages were determined in order to determine the level of the problems in the analysis of the data. "T" test statistical analysis was used for comparisons. According to the opinions of art education students: (1) Distance education is not successful in art teaching. (2) Face-to-face training is more effective. (3) Teachers and students have not received training regarding distance education; and they had to adapt to this new condition in the process and by experiencing it. (4) It was concluded during the distance art education that the participation of the students in courses and being prepared for these courses were not sufficient.

Multilingualism has established itself as a separate area of research in linguistic studies for the two last decades. Therefore, the present study aims at examining Algerian Multilingual students' perceptions of linguistic distance i.e., "psychotypology," between their first Language Arabic and Second language French and third language English. It focuses on the role of psychotypology as a constraining factor of cross-linguistic influence in third language acquisition that may lead to the activation of the background languages in the production of L3 English. Therefore, the researcher used a mixed research method to explore which typological or psychotypological languages L1 Arabic or L2 French would be the source of language transfer in L3 production. Forty students participated in this study, and data was gathered through a psychotypological questionnaire. The results of a qualitative and quantitative analysis showed students perceive French as a closed language to English in most the language aspects and they used it to fill a linguistic gap in their English production. It also showed that psychotypology is a complex concept that would affect students' language choice in L3 production as well as a crucial factor in determining the source language of transfer. The findings indicated that further investigations of Psychotypology in L3 production are necessary.

The study had a descriptive survey model. The purpose of the study was to determine the problems faced in art education by academicians in fine arts education under the conditions of COVID-19 pandemic, and to help take measures for the solution of these problems. The population of the study consisted of higher education institutions/branches that provide fine arts education. The sampling was the academicians of the Fine Arts Education Department, Faculty of Fine Arts, and Painting/Sculpture and Conservatory Departments. After the pandemic was detected in Turkey in mid-March 2020, an attempt was made to contact the sampling between April and June 2020. The study was conducted with 196 academicians who had different academic titles. An online survey was used as the data collection tool in this study. The survey included 37 questions in 6 problem fields on demographic data, distance education backgrounds, and problems that could be experienced in distance education and art education, was applied to those who wanted to participate voluntarily in the study from academicians. Frequency and percentage distributions were used in statistical analysis of the data in the present study. The participants stated that they experienced problems mostly due to the contents/achievements of the courses, student-related problems, and measurement and evaluation-related problems during the distance education process. However, they also stated that they experienced fewer problems that stemmed from internet and computer, distance education program, and teacher-related problems.

The aim of this study was to determine the examination of the researches about the use of technology by fine arts teachers. The study was conducted according to the content and citation analysis model. In this context, Web of Science (WOS) Core Collection indexes were included. In the document scanning in the WOS environment, the keywords 'Fine arts', 'Teachers' and 'Technology' were searched. In total, 169 documents were examined and analysed one by one. They were analysed according to year, document type, WOS content category, country, source title, organisation and citation, authors, publication language and categories. As a result of this research, the first study was conducted in 2004, while the most studies were conducted in 2016. It was concluded that the published studies had the most Proceedings papers as the document type. The area where the studies of fine arts teachers on the use of technology are mostly carried out is Education Educational Research, according to the Web of Science content category. The most researched title in the distribution according to the Source Title field is 'International Multidisciplinary Scientific Conferences on Social Sciences and Arts.' The university with the most studies is Kazan Federal University. The 19 authors who conducted the studies have a large number of studies in this field. It was concluded that other authors had only one study in the field. Again, when we look at the distribution of the countries and documents according to the language of writing, the country with the most studies is China and the language of the documents is English. The area continues to evolve.

The following article presents the results of research whose purpose was the analysis of the level of artistic creativity and fine arts development among eighth-grade students of different elementary schools in the northeastern part of Slovenia. We have monitored the level of artistic creativity and analysed the differences in fine arts creative skills from the viewpoint of six factors of artistic creativity: originality, flexibility, fluency, redefinition, elaboration and sensibility for artistic problems. Consistent with these factors, our focus was on the differences in the stratum, as we have noticed a lack of research analysing creative abilities from the point of view of the students' environment. Thus, the research aimed to shed light upon the impact of quality art educational work on the development of fine arts creative skills and creativity, especially among students of higher age. In doing so, the fact about the environment students come from was disregarded. The results of the research show discrepancies with previous research, as we found statistically significant differences in the factors of art elaboration, sensibility for artistic problems and fluency, with the suburban students being more successful. For this reason, there are further tendencies to carry out an in-depth analysis of this indicator in the mentioned age group.

LaGuardia Community College is pursuing a sustained, multi-layered strategy to place learning, teaching, and cohesive curriculum at the center of a guided learning pathway. Implemented in both general education and disciplinary majors collegewide, our Learning Matters core competencies offer faculty powerful tools they use to design, enact, assess, and refine cohesive curriculum pathways. Curricular coherence is central to our innovation, but it does not operate in isolation. Its effectiveness emerges from careful alignment with an array of complementary reform strategies. High impact professional development supports faculty and staff as they connect curricular coherence with engaging pedagogy and faculty-driven assessment processes. Our ePortfolio practice shapes dynamic digital learning processes that help students to understand and engage those pathways and make them their own. This integrative strategy positions learning--student learning, faculty learning, and organizational or institutional learning--as the essential central element in a broad and effective educational improvement effort.

During her career as a public university teaching assistant, Ting Fang (Claire) Chien observed many students who were not enrolled in an art degree program ("non-art-major students") struggle with studio art projects. As a result, she developed the Daily Life Object Project (DLOP) to show these students that art is connected to and present in their daily lives. The project aimed to encourage students to (1) make personal connections to the artmaking process; (2) relate to an art topic and consumerism through rethinking their consumer behavior by exploring material culture; and (3) explore material connections by considering daily consumed objects as an art medium. The goal upon completing the project was for students who initially had insecurities about making art to increase their confidence in future projects or assignments. In facilitating the DLOP, she investigated two questions: (1) whether art projects that were related to non--art majors' daily lives could elicit better connections between them and art, and (2) if students could become less insecure in making art by experimenting with projects that utilized non--fine arts media to create art beyond realistic representations. In this article, she will present her design and facilitation of the DLOP in the general education art course Exploring Art and Visual Culture (ARE130) offered for non-art-major undergraduate students in the spring semester of 2017. To demonstrate her findings, she will present three students' artworks.

Can a building's ornamentation grow and change? Can it inspire artists, educators, and other scholars to be creative in new ways? In this article, the authors, an instructional faculty team of two studio art professors and the fine arts librarian at Southern Illinois University Edwardsville (SIUE), describe how its collection of Louis H. Sullivan (1856-1924) architectural ornaments inspired various artistic events, including collaborative studio art projects. The authors provide information about Louis Sullivan and his connection to Richard Nickel and SIUE's Sullivan architectural ornament collection. Next, the authors make a case that collaborative art projects and events like the examples add cultural value to original or similar artifacts in one's physical and virtual communities. Finally, they demonstrate ways in which technology facilitates such collaborative projects.

The 2010s saw a revival of reactionary politics on college campuses, which now appear to have paved the way for contemporary right-wing culture-war talking points regarding K-12 education. Revanchist attitudes around race, as well as gender and sexuality, can be linked to White Americans' affective attachments to ideas of historical entitlement, which can be seen both in campus responses to university art programming and in acts of student vandalism. I describe a campus gallery exhibition I organized in 2016 around the theme of White affect, and I make connections between expressions of rage, anguish, and reasonableness on the part of White people within White-dominated institutions of art and education, before considering what possibilities and difficulties may exist for leading substantive classroom discussions and projects that engage explicitly with race generally, and Whiteness in particular.

The COVID-19 pandemic placed increasing pressure on university staff with spiralling workloads due to the rapid implementation of changes to university processes and staff being required to take on additional duties due to self-isolating or unwell colleagues. The mental health of students was also adversely affected due to changes in their education and social life and the overall uncertainty caused by the pandemic. Engaging in creative and cultural activities has been demonstrated to have a positive impact on mental wellbeing. The present study aimed to explore how and why staff and students in one UK university engaged with arts, cultural and creative activities, and the perceived impact of this engagement on their mental wellbeing during UK lockdowns. This article presents findings from a series of fourteen qualitative interviews conducted with staff and students in the summer of 2021. Thematic analysis identified that participants engaged in the activities to enhance their mental wellbeing through a sense of achievement, enjoyment, absorption and connecting to others. However, the activities were also used as a coping strategy, to deal with loss, and to make meaning of the uncertainty caused by the pandemic.

Many universities offer some version of centrally offered professional development opportunities for graduate students seeking academic careers. Less is known about what impact these programs have on student career preparation and success and which design elements are most beneficial to each learner (Diggs et al., 2017; Schram et al., 2017). This article reports on a mixed methods decadal review (2011-2021) of one large, research-intensive institution's multidisciplinary cohort-based year-long program, Preparing for Academic Careers, for graduate students near the end of their doctoral or master's of fine arts (MFA) degree. Results from a systematic employment status search using publicly available records (Google and LinkedIn) indicate that a higher percentage of participants are employed in academic positions than national trends. Results from the analyses of closed and open-ended questions from an alumni survey suggest a range of perceived benefits: an increased sense of belonging in the academy, comfort talking to others about their work, confidence as an instructor, and interest in cross-disciplinary work. These findings will inform others seeking to design and implement academic career preparation programs that aim to provide student-level support in an inclusive and multidisciplinary environment.

Research exploring the benefits of Mindfulness-Based Interventions (MBIs) with youth is emerging and promising for the improvement of resiliencies. We developed an arts-based mindfulness intervention to make learning mindfulness accessible for children who had experienced trauma. Arts-based methods are engaging, enjoyable, and developmentally relevant. Previously, we found benefits of participating in this MBI for children aged 8 to 12 years. Herein we discuss research in which we explored the benefits of this MBI for adolescents who were experiencing challenges with schooling; 146 youth completed the program. Our research question asked whether the MBI was beneficial and/or effective for these youth and, if so, what were these benefits and how did these benefits assist youth to cope? Benefits were explored via reflexive thematic analysis (TA) of pre/post-intervention, and follow-up individual interviews with youth. Effectiveness was assessed by analyzing pre- and post-intervention scores on youth self-report inventories measuring mindfulness and resilience, as well as responses from caregiver assessments of behavior/coping. To assess if there were changes in responses across timeperiods, a series of repeated measures ANOVA were employed. Quantitative findings were mixed in that the youths' self-report scores measuring resilience showed limited improvement while mindfulness showed no significant change. However, parents' perceptions regarding their child's behaviors indicated significant improvements in social competence and both internalizing/externalizing behaviors. Similarly, the thematic analysis suggested improvements in youths' self-awareness, self-judgment, thinking, mood, ability to make choices, social skills, coping, and emotion regulation. The results are promising and warrant further investigation of arts-based approaches to facilitating mindfulness with youth.

The success of an educational institution is largely based on student motivation and educational satisfaction and their happiness at their place of education. It is therefore very important to maintain high quality in education to determine the case of students' well-being in order to improve the standards of study. In this regard, the aim of this study was to identify the status of students in terms of their level of burnout, vigor and educational satisfaction at the Department of Fine Arts Education. There were 250 students participated in the study. To determine the level of burnout and vigor, Shirom-Melamed Burnout and Vigor Measures were employed, and to measure the educational satisfaction levels, educational satisfaction questionnaire was used. The results show that music majors have lower vigor than art majors. Gender does not have significant effect on any of the scores. Burnout, vigor and educational satisfaction differ according to the year of education for music major, but only vigor differs for art majors. Mother's education level has significant effect on burnout and vigor for music majors and on education satisfaction for art majors. GPA is not correlated with none of burnout, vigor or educational satisfaction.