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Purpose: Art forms such as music and drama are among some recognised tools used by educators. This has sparked interest in how art can be used in education, making it a fertile field for educational research. However, there is a missing connection in how drawing can be used as a tool for English as a Foreign Language (EFL) students to learn about literature. Methodology: This paper will incorporate an Arts-Based Research (ABR) method to determine how visual art, particularly drawing, can be used as a tool to advance EFL students' understanding of a selected literary text, Edgar Allan Poe's "The Tell-Tale Heart" (2015) This qualitative study, viewed through the lens of Richard Mayer's Cognitive Theory of Multimedia Learning (CTML), involved 10 EFL participants and revealed strategies for integrating drawing that are absent in traditional approaches. Additionally, Hameed's (2022) elements of art, Yenawine's (2014) Visual Thinking Strategies (VTS), and Showalter's (2003) concepts of literature learning will be included to ground the framework of the intervention. Findings: This study can be regarded as a method to liberate traditional teaching practices into contemporary approaches, serving as a tool to merge cultural knowledge while improving confidence, higher-order thinking skills, and expression. It also allows educators to be flexible and provoke more reflection and participation. The data discusses three main strategies in exploring how integrating drawing can help EFL students learn about literature: mining to trigger thoughts, engaging with the senses, and giving permission to wonder. Visual art allows individuals to create their responses by exploring new ideas and representing emotions, confirming plans, and comprehending the deeper level of literary texts. Significance: The study will offer insight and work as an alternate strategy for educators and learners alike to utilise visual art as a tool in teaching and learning literature. The findings will also ease the alarming condition where literature teaching and learning are stereotyped as daunting. [This paper was presented at the 12th Malaysian International Conference of Languages, Literature, and Culture (MICOLLAC) held in Penang, Malaysia, in August 2023.]

The purpose of the present study is to examine the relationship between Visual Arts teacher candidates' media literacy, technology integration skills and STEM applications self-efficacy. The research, designed with the relational scanning model, was conducted with the participation of 204 Visual Arts teacher candidates. In order to collect the data, "Media Literacy," "Teacher Technology Skills" and "Teacher STEM Self-Efficacy Perceptions" scales were used in the study. The analysis of the research data was carried out with STEM analysis in the AMOS program. According to the research findings, visual arts teacher candidates' media literacy was found to be high, but their technology integration skills and STEM applications self-efficacy were found to be at moderate level. According to STEM analyses, media literacy and technology integration skills significantly predict STEM self-efficacy in Visual Arts teacher candidates, both separately and together.

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

This study identifies the best online teaching practices to benefit first-year visual arts students, notably to include instructor-created videos. Such instructor-created videos provide a firm foundation for these students to succeed in their first year of college. The introduction of Web 2.0, focusing on user-generated content, has shown potential to address this issue in online higher education. This study will examine the impact of instructor-created videos to improve learning outcomes, satisfaction, and persistence. It focuses on key areas such as Communities of Practice (CoP), Project-Based Learning (PBL), and instructional design in the visual arts. This study used a quantitative quasi-experimental design to examine the difference in student grades before and after instructor implementation of instructor-created multimedia elements in their courses. Findings highlight the value of instructor-created multimedia elements, particularly for 'C' students, including implementation and challenges. By considering these factors, instructors can create effective and engaging online courses for visual arts education that may improve student performance, retention, and persistence to graduation.

The authors' paths crossed seven years ago when they had recently adopted the P4C (Philosophy for Children) method as philosophy teachers. Their shared enthusiasm for P4C resulted in collaborative development and facilitation of different workshops. These programs were specifically tailored for children aged 7-10, particularly those residing in underserved areas. After depleting the widely available stimuli resources in their workshops, they soon found themselves in need of fresh material. During the COVID-19 pandemic, while conducting online workshops, the authors recognized the potential effectiveness of utilizing visual stimuli. In each session they used a work of art as a stimulus to initiate an inquiry using P4C methods. This realization prompted them to explore the realm of visual arts. Subsequently, they underwent an extensive preparatory phase, meticulously selecting works of art for the projects and conducting in-depth research on them. In this article, the authors aim to elucidate the rationale behind and advantages of employing works of art. Toward the conclusion of the discussion, the authors have included a practical application as an illustrative example.

Research on young English language learners has been gaining popularity in recent years, but to this day remains underdeveloped. The present study aimed to add to this body of research by exploring the effects of visual arts activities implemented via comprehension and compared to more commonly used flashcard activities implemented via comprehension-based instruction on young English language learners' vocabulary acquisition and retention. The study specifically focused on very young learners who do not have access to the English language outside of the classroom. This study employed a withinsubjects counterbalanced design with young English language learners (N = 47) with a mean age of three years and eight months. The results provided evidence that both instruction types are highly effective in the productive and receptive learning of vocabulary among young English language learners. Furthermore, the positive effects of visual arts activities implemented via comprehension-based instruction on vocabulary retention were found to be significantly higher than those of the production-based instruction.

This paper presents the findings of a qualitative study about the inclusion of arts-based assessment strategies in a 12th grade Israel education classroom. Students were tasked with producing a political cartoon that demonstrated their understandings of contemporary Israeli society. Data was collected from interviews and students' original artwork. The findings revealed that learning through the arts provided students with opportunities to think about and express their feelings about Israel in aesthetically complex and personal ways. The findings also demonstrated the importance of pre-assessment strategies like frequent exposure to the genre of political cartoons and conferencing before submission.

Noospheric education is considered the basis for the formation of an environmental culture in people and society aimed at solving a complex of problems related to ensuring the sustainable development of society. Identifying promising areas for noospheric education development and demonstrating the importance of students developing a noospheric vision of the world through the visual arts depend on whether the necessary conditions for achieving the desired results have been established. This study aims to examine the impact of software on the effective formation of students' noospheric vision of the world using the visual arts. A quantitative and qualitative research design was used in this study. The study involved 240 fourth-grade students at secondary school no. 12 in the city of Almaty (Kazakhstan). The findings revealed issues with the formation of students' noospheric worldviews which demonstrates that students have an unstable perception of the intellectual sphere and develop an enthusiasm for the bright, spectacular objects and phenomena of their surroundings rather than their content. Experts can use the research findings to model environmental education in secondary schools, in the practical work of visual arts instructors, in the creation of curriculum and instructional aids for the visual arts and in the transmission of information on noospheric concepts.

High school math projects center on solving real-world examples in a wide variety of situations that require a creative skill set. Creativity in high school mathematics takes place in a subtle form. In contrast, creativity presents itself conspicuously in art. Therefore, this paper will explore the utilization of polynomial equations in drawing various figures as part of algebra class projects. Additionally, these projects incorporate integrated digital tools in mathematics. The paper will analyze three algebraic projects: the first project involves drawing a bird, the second project focuses on drawing a butterfly, and the third project entails drawing a bat using polynomial equations with the technological tool Desmos. All three projects are products of student work that encompass figures requiring up to forty polynomial equations. The students' impressive work demonstrates the power of mathematics in pushing the boundaries of other subjects. As digital technology becomes increasingly integral, mathematical tools are positioned as universal tools for the future and are poised to rival artists in producing visual art. This raises the intriguing question: can a mathematician create better art with mathematical equations through digital technology than an artist?

The current study explores the impact of visual arts education on early childhood, highlighting its role in enhancing creativity, imagination, and emotional expression in pre-school children. It explores the perspectives of pre-school teachers on the importance of visual arts in children's development and the challenges they face when integrating the arts into the curriculum. The study used quantitative and qualitative research methods. The study highlights how pre-school educators value the visual arts for its potential to enhance cognitive and social skills and how demographic factors influence these perceptions. In addition, it explores the practical aspects of art education, including classroom management and resource allocation, to offer a comprehensive view of the current state and future potential of visual arts in early childhood education. Finally, this research contributes to a deeper understanding of the central role of the visual arts in early education. It highlights the need for supportive educational policies and resources to enrich the learning environment.

Wellbeing education (WE) is increasingly offered among secondary schools internationally to promote the physical, social, emotional and mental health of young people. Current and emerging evidence proposes that scope exists for the enhancement of universal WE, and that arts-based approaches have significant potential for school programmes in enhancing the effectiveness of WE. This sits alongside a growing body of international literature that connects arts engagement with positive mental wellbeing across age groups. Existing research also shows that the evaluation of the goals, pedagogy and student engagement within WE from the perspectives of teachers is uncommon. To this end, this qualitative research investigated teacher perspectives on the potential for arts-based WE. Through an asynchronous group interview, 10 Australian secondary school arts teachers with expertise in a variety of visual and performing arts education reflected on current WE in light of their arts teaching practice, exploring possibilities for enhancement through art-based practices. Thematic analysis using a socio-ecological framework reveals strong support for arts-based WE, noting positive potential for arts engagement to facilitate increased teacher and student autonomy, relationship building, safe and inclusive environments, and enjoyable, embodied learning within WE.

During a classroom-based study that featured wordless and almost wordless picturebooks, instruction and adult mediation communicated to Kindergarten children that elements of visual art, design, and layout are fundamental to meaning-making when transacting with this format of literature. The illustration techniques described by Ray (2010) were used as an analytical lens to analyze the transcripts from the small group interactive sessions of an almost wordless picturebook featured during the research. The descriptive analyses of the transcripts reveal the rich viewing and talking opportunities that can be afforded during children's transactions with almost wordless picturebooks when these selections of literature are situated as aesthetic objects, and when children and adult mediators understand and appreciate how meaning is individually and synergistically represented by elements of visual art, design and layout. The findings are discussed in relation to the literature reviewed, and the theoretical frameworks of social semiotics and sociocultural theory.

H ow can we integrate art and social studies to advance art teacher education for social justice? This question has guided our collaborative journey as teacher educators at the same institution. At a public university in the southern United States, the first author is an art teacher educator, and the second author is a social studies teacher educator. We share a commitment to teacher education for social justice. Since fall 2022, we have collaborated to explore the pedagogical value of arts--social studies integration to empower preservice teachers as social justice teachers.

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

Although visual arts pedagogies are considered central within early childhood education programs, teacher self-efficacy has a direct impact on the quality and delivery of visual arts curricula. Until recently, the visual arts self-efficacy, pedagogical knowledge, and practice of in-service early childhood teachers have remained largely unexplored. The authors of this paper present a qualitative, iterative re-analysis of their three PhD studies which broadly focussed on early childhood visual arts praxis and specifically examined the visual arts beliefs and pedagogy of early childhood teachers in Australia and New Zealand. A thematic analysis of the intersecting self-efficacy findings raised in the three studies identifies the powerful influence of self-efficacy on teaching practice in the visual arts domain and offers new understandings about visual arts self-efficacy amongst early childhood teachers. The combined findings reveal several factors that restrain or enhance teachers' visual arts self-efficacy across time, including the impact of childhood experiences, pre-service training and epistemological beliefs. The paper also identifies several enabling conditions that appear to support teachers to develop and maintain positive visual arts self-efficacy beliefs, including practical engagement with materials, sustained professional learning, relational trust and intentional leadership. These enabling conditions offer practical strategies and research recommendations in service of positive visual arts self-efficacy to enhance quality visual arts teaching in early childhood contexts.

This paper explores children's encounters with migration in global contexts through storytelling. Children from two primary schools in Manchester, UK and Cape Town, South Africa, developed stories of self through object elicitation, poetry and self-made artefacts. The children had either directly or indirectly experienced migration across borders. We combined objects that were brought from home, drawings and annotations in exploring the significance of children's ordinary everyday encounters. While the children's story work captures their individual perceptions of self, the collections of objects, drawings and artefacts reflect ideas about what it means to be a child in a world of mobility where human and more-than-human are entangled together. We explore children's stories in relation to mobility, belonging and more-than-human connections. However, we acknowledge that the interpretation of the 'final' stories is incomplete as they continue to change in a process of becoming.

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.

This article reports on research focused on a visual arts education course offered during a primary teacher training in Chile. It was driven by the increasing cultural diversity in Chilean schools, the potential of art education to respond to this context and the limited space that this field has in the national curriculum, an issue that is replicated in most teachers' training programmes. Intercultural and students' cultural funds of knowledge theories informed a framework that was implemented in the investigated course to strengthen pre-service teachers' cultural identity and the adoption of culturally inclusive practices. Through focus groups with the students and analysis of their visual journals, the research explored whether the course impacted their perception of visual arts education, and their cultural identities. Through a/r/tography, an arts-based methodology that articulates art, research and education, the study presents the students' voices and imagery, testimonies that contributed to reassess the space given to art education in primary schools and teacher training programmes.

This paper introduces the life and work of art educator and designer Kurt Rowland (1920-1980) who authored the first set of textbooks on visual education and played a role in the shifting world of art and design education in post-war Britian. We detail the foundational experiences of his extraordinary life in the first half of the 20th century including surviving the Spanish Civil War and "La Retirada," being a 'friendly enemy alien', and becoming one of the Dunera boys forced into Australian internment camps. He later went on to develop a new aspect of art and design education he called visual education. We explore Rowland's notion of a visual education, explicating its features, appraising its import, and situating Rowland's ideas to those of his contemporaries. We explore his motivations and how his work advanced art pedagogy. Finally, we argue that Kurt Rowland has been absent in recent literature on art and design education and that his work, which contains elements that have continued relevance today, should not be overlooked.

In this study, we examine the design process for a visual learning analytics (VLA) approach in addition to its effect on developing students' epistemic understanding of discourse and relationships to promote knowledge-building inquiry. Over a 3-month period, an experimental class of secondary school students took a visual arts course using a knowledge-building design augmented by VLA, while a comparison class took the same course within a regular knowledge-building environment. The VLA approach implemented in the experimental class emphasized collective reflections using assessment tools to visualize the students' online and classroom discussions. The analysis of the students' questionnaire responses and Knowledge Forum discourse showed that the VLA approach helped the students develop a deeper epistemic understanding of discourse for productive inquiry and greater domain knowledge. In addition, the students' epistemic understanding was associated with their performance in productive Knowledge Forum inquiry. Qualitative analysis of the classroom and group discussions, interview responses and learning artefacts showed that the VLA design helped them understand the nature of discourse deeply by encouraging them to notice community orientations, increase their awareness of productive discourse moves and advance idea development. The implications of the VLA design in improving epistemic understanding of discourse are discussed. We contribute to the literature by examining the epistemic dimensions of discourse and implementing VLA as an epistemic tool for knowledge building.

This study investigates geometry teachers' evaluations of problems that use visual arts contexts. We ask, "how do teachers' evaluations relate to the four arguments justifying the geometry course?" and "How do teachers draw on the APPRAISAL system to evaluate sample geometry problems from textbooks?" Nine high school teachers were convened in three focus groups. We analyzed the teachers' discussions using systemic functional linguistics and identified 676 evaluations. Ninety percent of the evaluations pertained to the system of appreciation, including teachers' reactions to the problems, their stances about the problems' compositions, and their opinions about the problems' values. The teachers valued problems where students could appreciate the relevance of math in real-world scenarios, engage in math explorations, and become intrigued.

A network professional learning community (PLC) is characterised by a non-hierarchical approach to professional learning. Members are supported to engage and to learn when leadership is distributed across a network PLC. The mixed methods study reported here was designed to examine how a network PLC could effectively improve visual arts pedagogy in early childhood education (ECE) settings. The design and analysis were considered through a lens of distributed leadership. The research had two main stages, a nationwide survey and an embedded case study. The case study findings demonstrated the possibilities of a network PLC approach to foster distributed leadership across PLC members, the facilitator, ECE teams and leaders; participants successfully shared and applied new learning and improved pedagogy for visual arts learning. Overall, this study suggests that leadership is a critical aspect of the network PLC approach, and that attention should be paid to distributed leadership and to the role of the positional leaders in supporting the application of learning from a network PLC to education settings.

The early childhood sector in New Zealand has a long-held tradition of free play and child-led pedagogy, influencing visual arts approaches with young children. However, alongside learning through play, New Zealand's sociocultural curriculum highlights the active role of the teacher and intentional pedagogy. This article explores the practices and perceptions of early childhood teachers regarding visual arts through a mixed methods study, including a nationwide survey and an embedded case study. Data indicated that teachers are confused about the appropriateness of taking an active role during children's visual arts learning, and about when to be intentional versus leaving children to play without interference. Such tensions appear to be founded in contradictory theoretical assumptions, and are evident through a lack of confidence, skills, strategies and language for teaching. The authors argue that professional learning could ameliorate these tensions by clarifying educational theories and identifying intentional visual arts teaching practices that align with current theoretical beliefs about how young children learn in early childhood.

Postmodernism emerged as a movement that opposed the dominant views of modernism in the field of art. Postmodernism, which originated in architecture and gradually influenced many areas of art, is discussed in this study with a focus on painting and visual arts education. In high school programs in Turkey, it is important for students to be able to examine the past, embrace the present, the era, and the postmodern way of thinking. When the relevant literature was reviewed, it was determined that there is no research on how postmodernism is used in art education in terms of student learning outcomes. The aim of this research is to determine how high school visual arts teachers incorporate the postmodernism movement into their teaching and to identify any changes in students' interest levels in the course. In this study, a qualitative research method was used, specifically the case study design. The sample of the study consisted of four visual arts teachers who work in one central and three district schools in Yalova province. Two semi-structured interview forms and document analysis were used as data collection tools. The findings were analyzed using thematic analysis. According to the research findings, it was determined that the participating teachers conveyed the artistic and intellectual structure of postmodernism to students through various teaching methods during the lesson process. However, they were unable to achieve all the learning outcomes related to postmodernism. The study also revealed that students demonstrated changes in the methods they preferred to employ in their artwork after learning about postmodernism and being exposed to examples of postmodern art. Moreover, students provided both positive and negative critiques, reflecting their aesthetic perspectives on postmodern artworks. This research is considered important in terms of serving as an example for teachers and contributing to the literature.

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.

Project-based learning in visual arts lesson is an effective method to develop students' creativity, self-confidence and learning skills. The aim of this study is to examine the effect of project-based learning method applied in 7th grade visual arts lesson on lesson outcomes and attitudes compared to traditional teaching. The study was conducted with a pretest-posttest control group experimental model. The experimental process lasted 5 weeks for the experimental and control groups. At the beginning of the experimental procedures of the study, the 7th grade visual arts lesson achievement test and attitude scale towards visual arts lesson were applied to the experimental and control groups simultaneously as pre-test. In the experimental group, the visual arts lesson was taught with the project-based learning method, while in the control group it was taught with the traditional teaching method. The 7th grade visual arts lesson achievement test and attitude scale towards visual arts lesson were used to collect research data. According to the research findings, when the post-test results between the group in which the project-based learning method was applied and the group in which the traditional method was applied were examined, significant differences were found in favor of the experimental group in which the project-based learning method was applied. The project-based learning method had a positive and high level effect on the visual arts lesson achievements and attitudes of 7th grade middle school students.

As educators, we are becoming increasingly aware that delivering effective education will likely change after the coronavirus pandemic. As a result, we have an opportunity to frame teaching differently and bring innovation to the forefront. In doing so, educators explored online tools and creative ways to connect with students and found new ways to teach.Using an exploratory case study methodology and working within a theoretical framework of symbolic interactionism (SI), I investigated how virtual teaching visual arts integration and biology are more favorable or challenging for emergent bi/multilingual high schoolers. The lesson titled Using Depiction to Illustrate the Interdependent Functions of a Plant Cell was implemented. I implemented a series of visual arts integration activities with ten ninth-grade emergent bi/multilingual students at a mid-sized high school in the United States' southeastern region. Research activities took place, via zoom, in a communication skills class. The findings reveal that learning new content mediums and skills during visual arts integration activities enhances students' learning process. Moreover, emergent bi/multilingual students can benefit from face-to-face classes because they receive more practice speaking and benefit from their teacher's advice on their tasks. Nevertheless, more flexible class times and delivery methods may help students meet the many challenges created by the need to help provide for their families.

This article makes a case for SoTL practitioners to engage in what we term a pedagogy of slow. Here, "slow" connotes with waiting and patience. It takes time to learn and acquire the skills that a SoTL scholar needs. "Doing SoTL" we therefore argue, requires a pedagogy that takes time and sees time as an ally instead of as an opponent. In what the university has become, there seems little room for a pedagogy of slow that both offers and allows for time. In this article we present a case for considering engagement with the visual arts as part of a pedagogy of slow and the development of SoTL. By making the familiar strange, we acknowledge the implications of visual thinking strategies for social engagement by highlighting teaching and learning as relational. Working with colleagues in the context of continuing professional development, we collected data via focus groups and written reflections within physical and virtual gallery spaces to glean insight into participant experiences of slow looking as the antithesis to fast-paced and pressurised environments. We highlight how learning to become a SoTL scholar is an iterative process that requires time and generates what we term "productive friction." This is the iterative process which creates dislocation and uncertainty within participants, but which also has the capacity to nudge towards a transformation of the professional self.

Learning in makerspaces is free from curriculum and evaluation and is believed to yield practical, self-driven and solution-oriented learners. This study explores how makerspace pedagogy can be emulated in formal higher education settings to support this kind of learning. Action research was used to cultivate and review this pedagogical approach in three repeated design studio courses using three-dimensional (3D) printing lab. The maker pedagogy was to support self-driven learning emerging in relationship between learners, their social environment and technology media. Maker and design pedagogy has been further theoretically developed using postphenomenology as a process of learners' adoption of 3D printers in own design practice, learners' adaptation to the affordances of the 3D printers, and attainment of learners' own goals in social contexts using 3D printing technology. Finally, the study indicates how shifting from constructivist to postphenomenological theoretical concepts can give new insights and strengthen sustainable pedagogical practices. Limitations and opportunities for maker pedagogy in formal education are addressed with these new insights.

While extensive research has been conducted on text-based plagiarism in tertiary education, with corresponding clearly defined rules for avoidance, far less scholarly material exists concerning perceptions of visual plagiarism. Accordingly, this study investigates ethical considerations specific to applied arts education via three information-gathering focus groups and a subsequent online survey. The resulting qualitative data was analysed using Grounded Theory Methods and revealed significant discrepancies in knowledge. From this analysis, four broad experiential themes were identified: Local, Definition, Honesty, and Education (LDHE). Based on these findings and the underpinning literature, this paper puts forward a conceptual framework for addressing visual plagiarism. The LDHE framework was developed in direct response to the identified experiential themes and their respective concerns, thus providing art and design faculty with a foundational tool to generate and critically analyse pedagogies for preventing visual plagiarism in the context of applied arts tertiary education.

In this article, we explore how the recent proliferation of the virtual production stage with its promise of real-time visual effects has not only changed the working environment of the film studio, but also introduced an urgent need for new training and teaching approaches -- not only for current and future film students, but also for educators and practitioners. This case study examines a research project involving students from Ravensbourne University London, UK, in collaboration with industry partner Mo-Sys Engineering, a leading manufacturer of virtual production solutions. The complex demands of new, multidisciplinary job roles in virtual production have created a skills shortage in the UK film and television industry. We illustrate the challenges of training not only film students but also educators for a continually changing workplace dominated by disruptive technologies and shifting skill sets.

Over the last four years of my K-12 visual arts teaching career, I faithfully kept visual journals, filling them with stories of my experiences in the classroom. What initially began as an experiment as I searched for a tool to help me navigate new challenges within a public school system, eventually led me to realize that my visual journals were a valuable resource to better understand myself as a teacher, my place within the system, and a resource for resilience. In this article, I use narrative and arts-based approaches to explore the ways I leveraged visual journals as a tool for resilience by integrating humor, fostering a sense of accomplishment and self-efficacy, as well as retaking ownership of my journey to fight back. Through sharing this narrative I hope to illustrate some of the ways visual journals can help arts educators find resilience and strength to resist during challenging times.

The development of photo-based digital comics is one of the fastest-growing digital media and is in great demand. This learning medium is an innovative blend of visual arts and education that offers tremendous potential in stimulating interest in and understanding of complex materials. The importance of understanding disaster mitigation in modern environmental and social challenges cannot be ignored. Drama, as a rich form of cultural expression, allows us to reflect on human life, social relations, and the challenges faced by society. Disaster mitigation is becoming increasingly important to deal with real threats due to climate change and society's vulnerability to natural disasters. This learning concept is especially effective for students who need an innovative and interesting approach. The development of photo-based digital comics as teaching materials is very interesting. Combining visual elements from photographs with strong narratives, digital comics will be able to present complex materials in an easy-to-digest form. This approach provides a great opportunity to convey information on learning and the importance of disaster mitigation in a way that is closer to students' daily lives, resulting in more authentic and embedded learning. This research focuses on efforts to develop teaching materials that are communicative, not boring, effective, and applicable to support creativity and increase students' understanding of social problems identified in society.

This research is a case study aiming to reveal the experiences of art students towards the activity of "reproduction through appropriation". During the activity process, students were firstly informed about appropriation and the art of appropriation, especially the works in which two works of art were appropriated by integrating them, and each student was asked to identify two works of art to be appropriated. Students made sketches by establishing relational links between the two works they chose. In the last stage, students were expected to make a new artistic production. In this research, which was conducted with the participation of 8 students attending the art studio course, the experiences of the students regarding the process formed the unit of analysis. Worksheets, process evaluation form and artworks were used as data sources. As a result of the research, it was identified that the students were able to produce thoughts about the concepts emerging with appropriation and appropriation art and question this art practice. The students made an effort to integrate the artistic elements in the two works they used for appropriation in an appropriate way and to create the best visual fiction, and they were able to bring a new interpretation by making use of the artists' application of the paint technique and their understanding of colour in the appropriated works. They also realised that the artwork they produced was only a tool to force themselves into the artistic creation process and to gain artistic knowledge and skills. In other words, they developed an awareness of the limits of utilising the works in the history of art to ensure originality in their future artworks. It is possible to say that making use of the appropriation method in art studio courses will contribute to the artistic development of students.

Background: Visual art at school can create a learning environment where learners can learn, reflect and express opinions on critical citizenship and social justice issues as an informal modality that draws on different skills and allows for expression of thoughts and ideas in a medium other than words and numbers. A relevant issue in South Africa is the need to create a sense of citizenship to help South Africans to engage with and reflect on the country's complex colonial and apartheid history. Aim: The aim of this study was to engage primary school learners in critical citizenship and social justice education to determine how this can deepen their conceptions and to communicate these through an art project. Setting: A primary school in the Western Cape. Methods: This participatory action research (PAR) study was designed for learners to engage with critical citizenship through project-based learning at a primary school in Cape Town, South Africa. Learners investigated critical citizenship by creating folktales as a narrative for their artwork. Results: Primary school learners' conceptions of citizenship progressed from a general understanding of what citizenship means during the start of the PAR to a much deeper and personal experience of belonging, caring and connecting at the end of the PAR. The use of folktales, digital storytelling and visual art was effective in creating a message about citizenship that the learners practically experienced and valued. Conclusion: The creative process and artistic expression deepened the learners' understanding and engagement of critical citizenship and social justice. The reflections on the individuals' and the group's learning experiences revealed that critical citizenship education could influence learners' conceptions and interpretations of folktales with a socio-political message. Contribution: This research contributes to critical citizenship education and curriculum development.

This study aims to investigate students' awareness of the level, causes and negative effects of noise in schools through the utilization of creative drama activities. The objective of this sample application is to contribute to the development of a more tranquil and peaceful school environment. A single case study design was employed for this research, with the study group comprising 16 fourth-grade students from a primary school. Student interviews served as the primary data collection tool, supplemented by observations and video recordings. Thematic analysis was employed to analyze the data, resulting in the identification of four main themes related to noise awareness: "lack of tranquility," "noise phenomenon," "conflict exacerbation," and "creative ideas". By incorporating the Visual Arts and Science curriculum, students demonstrated important life skills such as innovative thinking, effective communication, and analytical reasoning. Additionally, this interdisciplinary approach allowed for the attainment of learning objectives within the Science curriculum's sound unit, while also addressing the "Visual Communication and Formation" domain of the Art curriculum.

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.

This study aims at investigating the impact of visual arts activities on the socialization and stress management of individuals with special needs. This is a qualitative research study that employs "action research" and our data were collected based on the observations of teachers. Over a 20-week period, visual arts activities were carried out with 27 individuals with special needs, including six with autism, seven with Down syndrome, and 14 with moderate to severe intellectual disabilities, who received education at the third level in the "Fehmi Cerrahoglu Special Education Practice School" in Ordu province during the 2020- 2021 and 2021-2022 academic years. The study group included a counselling teacher and 19 special education teachers, who observed the activities and their effects on the socialization levels and stress management of educable individuals with special needs. The data obtained from semi-structured interviews were analyzed using content analysis. Most of the participating teachers agreed that visual arts activities contributed to the socialization and stress management of individuals with special needs, and the study found that these activities played an important role in the inclusion of individuals with special needs in society and led to a decrease in stress symptoms.

In an attempt to connect theory and practice with regard to research on creativity and visual arts, this study aims to explore how visual materials created by children can help determine qualitative parameters in the process of observing creative activity. These materials are the result of a series of workshops designed by the authors, artists, and professors in a faculty of teacher training carried out with pupils from public second-cycle preschools and elementary schools. Having developed a data collection strategy based on participant observation, the materials are grouped into three interrelated parameters: movement, language, and transformation-aesthetics. These parameters are designed as a flexible observation tool, which allows for every researcher to implement it, by contributing to the development of new research in various classroom contexts.

What might femme pedagogy offer to sexuality education? Inspired by Jessica Fields's (2023) observation that femme pedagogies create intellectual, powerful, and intimate possibilities marked by love and care, we theorize how a femme pedagogy might be used to disrupt the cis-heteronormative, deficit spaces of conventional sexuality education. Centrally, we expand this pedagogy through four key concepts that routinely appear in our own sexuality research and teaching as two queer femmes: bodies, desire, joy, and love and care. In our analysis, we incorporate visual data we created alongside pre-service teachers who we taught in the course Comprehensive Sexuality Education Methods at a university in New Brunswick, Canada in 2023. We describe how art production informs what femme pedagogy looks like in our own sexuality education practice. We suggest that femme pedagogy can be used to mobilize and highlight queer sexualities in sensuous, imaginative, and creative ways--calling upon us to reconsider what sexuality education could be otherwise.

This paper reported an exploratory study that examined secondary school students' understanding of collaborative discourse in a computer-supported knowledge building environment in characterizing and scaffolding their engagement in productive online discourse. The participants were thirty-eight secondary school students in a visual arts course. A designed computer-supported knowledge building environment supported by Knowledge Forum®, an online discussion platform, was applied to the class, and knowledge-building talk was integrated into the classroom. The knowledge-building talk in the classroom involved the students' reflections on their online participation through the explicit discussion of knowledge-building principles to scaffold the students' understanding of collaborative discourse. Quantitative analysis indicated that the students' views and understanding of collaborative work and discourse were related to their engagement in online discourse and domain knowledge. Qualitative analysis showed how the Knowledge Forum and the classroom knowledge-building talk supported students in developing an understanding of collaborative discourse. The implications of examining students' understanding of collaborative discourse in a computer-supported collaborative learning environment are discussed.

This article focuses on developing the idea process in visual art education by using digital peer feedback. In the school subject visual art, the visual idea process, e.g. when students sketch their ideas, is an important phase in a project. When an idea takes form, there is the possibility for considering the idea in a new way, for others to study and discuss it, and most importantly, for generating new ideas. By digitally sharing their visual ideas and providing feedback, students might become more aware of their own and others' processes. This study aimed to explore how eighth-grade students develop and share visual ideas supported by digital peer feedback. Thematic analysis was used to identify different types of feedback provided by students. A qualitative survey was used to investigate student perceptions of the feedback. Many students appreciated receiving feedback from peers. Some students made significant or minor changes to their visual ideas based on the peer feedback, while other students abandoned their initial sketches and created entirely new ones, or did not make any changes to their initial idea. These results suggest that giving and receiving peer feedback is something that needs to be practiced in different specific school subjects.

In this study, we investigated the demographic, educational setting, and pedagogical factors in inclusive visual arts and design classrooms for students with disabilities. We also explored how art teachers' backgrounds, training, and school environments influence their approaches to teaching students with disabilities. Using survey research, we analyzed responses from more than 1,000 preK-12 art and design teachers in the United States, focusing on issues related to inclusion. The analysis provides insights regarding teachers' characteristics, experiences, and pedagogical approaches for teaching students with disabilities in a post-COVID educational system. Linear regression provided insights into factors that can create a sense of community and belonging for disabled individuals in an art classroom. We found a significant relationship between teacher preservice coursework and teachers' approaches to developing inclusive classrooms. Teachers who identify as disabled, undergo preservice coursework involving disabilities, refer to students' Individual Education Programs, have sufficient planning time, and work in schools with collaborative models are more likely to adopt inclusive approaches to pedagogy and curriculum.

Amid the imperative call for using digital artwork images and e-learning activities in planning and delivering the art curriculum heightened by rapid technological development and COVID-19, we propose a visual arts teacher-curator pedagogy and investigate its effectiveness in Hong Kong's primary and secondary schools. The pedagogy is set out to empower visual arts teachers to assume the role of "digital museum curators" and to facilitate student learning using virtual exhibitions. Design-based research was the methodology adopted for the study. Six teachers and 331 students participated in the study in the 2021-2022 academic year. The study, which examined the effectiveness of the proposed pedagogy, revealed a substantial improvement in student learning, including (1) motivating students toward self-directed and active learning, (2) stimulating artmaking ideas and skills, and (3) enhancing students' confidence through peer learning.

Academia and practicing Librarians have worked together with the innovation of the 21st century which has made librarianship much more interesting. This study employed the descriptive non-experimental survey design. A total of 379 librarians participated in the study via online Google form were used for data collection. Data analysis was done the aid of relative importance index (RII). Findings showed that the highest rated infographic tools are Google Charts RII = 0.6 ranked 1st, Adobe Spark with RII = 0.5 ranked 2nd and ranked 3rd was Information Infographics RII = 0.5. Besides, top barrier to use of infographic among Librarians was the general perception that it is time consuming" with RII of 0.70. followed by requiring flexible budget" RII = 0.70 and poor internet network" RII = 0.70. The study concluded that contrary to the researcher's a-priori expectation, the outcome of this study revealed a high level of awareness and use of infographic tools among librarians in Nigeria.