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This paper explores the conflicts engendered during the artist's formation due to repeated submission to assessment in formal creative arts education. In a comparative qualitative study of two visuals arts practice undergraduate curricula, the underlying interpretative approaches to intentionality were uncovered to comprehend the impact of the hidden curriculum at those higher education institutions. Across both sites, nominal authenticity emerged consistently as the most valued criterion which artist-students referenced in their self-assessments of the success and quality of their artworks, and of their identities as members of the professional community of practice. This criterion for self-assessment ran parallel to, and at times against, the persistent disregard of the artist-students' actual intentionality as a valid referent within the summative assessment practices of both the academic institutions studied. Within this paper, constructions of creativity, authorship and the relationship of these to interpretation, set the scene for exploring the traces, slippages and nuances between the discourses of authenticity which emerged. Drawing from empirical qualitative data generated from artist-students, artist-academics, curriculum documentation and observations of assessment, the contexts around these emerging discourses are discussed, and their significance for the novice artist's experience, and the agency of artist-teachers, explored.

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.

This paper discusses the pedagogical responses of the Wits University Cultural Policy and Management Department to the needs of our students in the postcolonial context of South Africa. It reviews the challenges experienced by our postgraduate students and the resultant innovations in both curriculum design and learning and teaching practice. While in many respects the drivers for this programme are similar to those in the Global North, the key challenges posed by our location on the African continent and indeed made prominent more recently in the #FeesMustFall movement are that the concepts, theories and case studies we draw from are specific to and rooted in the African context and reality. Preparing students for work as managers in cultural organisations has increasingly given way to engaging as activists and strategists with the policy environment for the cultural economy and to thinking strategically about the intersection between culture, creativity and the economy.

During the apartheid rule in South Africa, established universities and other tertiary institutions were forcibly segregated to serve particular racial groups. Some critics have stated that the apartheid regime in South Africa supported an exclusively Western model of education, and that university education was based on a mono-cultural approach with bias towards Western values and expectations. With the demise of apartheid in 1994, the Government of National Unity (GNU) merged the fragmented hodgepodge of segregated tertiary institutions into 23 (now 26) public universities (26 since in 2004), Tshwane University of Technology (TUT) being one. There has been a paradigm shift to accommodate a new form of education which is not only supposed to address the imbalances of the past but be of relevance to the twenty-first-century knowledge economy. The transformation of the education sector is supposed to boost the Africanisation (African-oriented content) of the syllabus, foregrounding the cultural practices and values of the African people. In TUT the arts faculty faced challenges of rationalisation, and the faculty management is poised to effect the paradigm shift. The aim of this paper is to investigate the extent to which the African-oriented content concept has been realised in the arts curriculum of Tshwane University of Technology TUT.

This paper considers the influences of curricula content on the nuances of teaching and learning practices, and the ways in such influences are complicated by the contexts within which they are situated. Generated data from within the particularity of two fine art schools, one operating from the developed world in the global "north" and another the developing world in the "south", considers how they have negotiated the contemporary push from the professional community of practice, led by "western" artmaking, towards the discourse-interest of contextualism in fine art practice education, compared to the focus on skills and mastery of more out-dated formalism. Particular emphasis is placed on the significance of such influences and pressures on the structures and cultures of teaching and learning.

This article aims to present an arts-based campaign as a strategy to glimpse into ‘the fault lines of inequality of access’ through the voices of art students and considers hope and imagination as strategies to engage with and move through the despair and trauma emerging out of the COVID-19 pandemic period. The Lockdown Collection (TLC), established at the start of the first hard lockdown in March 2020, is considered, a case study for the Scholarship of Teaching and Learning in the South (SOTL). It reveals greater understanding of ways that visual research pedagogies can develop collective strategies for the individual and community to flourish in the face of the pandemic. Such strategies include the capacities to listen to student voices and raise funds for vulnerable artists. Artists find resilience in their ability to make a difference through their own agency to remake and transform internal and external realities through their artwork and imagine different possibilities. The contention is that economic agency is and must be part of the strategy. [ABSTRACT FROM AUTHOR]

Using an arts based approach toward mathematics learning, a story, crossing the River was used in a multidisciplinary community engagement project in rural South Africa. Subsequently, the playing of the story highlighted key connections between mathematics and the arts. Play created the space, or 'stage', for the showcasing of the nature of mathematics. More importantly, similar to the notion of 'here' and 'now' in drama, play enabled access to mathematical thinking by inviting participants to converse about the problem at hand, while enrolled in respective characters entailed in the story. In the process, the activity challenged a long-standing argument that separates the two subjects and treats mathematics as a cognitive thinking and rational left-brain activity, while the arts are considered to be an affective, feeling and emotional right-brain activity. Through the teacher's comments, such as those linked to the 'performing mathematics', 'pedagogy' as well as 'the nature of mathematics', we learn that the crossing the river case study represents an attempt toward capturing the aesthetic nature of human cognition that needs to form part of mathematics teaching and learning. Accordingly, such interplay between arts and maths education provides an opportunity for engaging learners in such a way that the teaching of mathematics in isolation may never accomplish. Hence the argument of 'bringing learners to mathematics' as opposed to 'bringing mathematics to the learners', and adoption of an integrated learning approach that has play using an artistic creativity as an entry point. [ABSTRACT FROM AUTHOR]

This article, dedicated to the memory of the late Poet Laureate of South Africa and patron of the South African Poetry Project (ZAPP), Professor Keorapetse Kgositsile, situates itself within Kgositsile's struggle for cultural liberation through the arts and education. It is also located within the current South African project of decolonising the curriculum. The call to decolonise existing educational curricula—to transform colonial curricula through processes of indigenisation—is ubiquitous and strident. As a response to the contemporary call from students, educators, and theorists—more than twenty years after South Africa's liberation from apartheid—this article seeks to interrogate how one might decolonise the poetry curriculum within the discipline of English literature. As researchers of English studies, we have chosen to investigate poetry, Kgositsile's favoured genre. Our choice is informed by poetry's status as a capacious genre that stretches the boundaries of both language and knowledge. This article considers what it might mean to decolonise the poetry curriculum in terms of its selection of texts, although we acknowledge that pedagogic and assessment practices also have important roles to play in processes of educational decolonisation. We introduce decoloniality and indigeneity as concepts and analyse excerpts of current South African poetry in English in terms of these. Our aim is to open a space for discussion around the complex, sensitive issues involved in shaping a decolonised poetry curriculum. [ABSTRACT FROM AUTHOR]