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

This paper explores the evolving concept of theatrical inquiry, tracing its origins, early applications, and its notable resurgence in recent years as a dynamic methodology for probing into learning spaces. Amidst the evolving landscape of arts education, theatrical inquiry endures as a lens through which the contemporary role of drama and theatre can be re-evaluated and redefined. This exploration is set against the backdrop of an ongoing debate: the demarcation between theatre-making and drama as pedagogical tools. By scrutinising the utility of theatrical inquiry in fostering aesthetic understanding and awareness amongst students, this study positions itself at the intersection of Drama in Education and Applied Theatre. It seeks to unravel the complexities of using drama and theatre not just as mediums of artistic expression but as critical instruments that can enhance cognitive, emotional, social, and creative reflection. Through a comprehensive review of literature, this paper aims to shed light on the varied ways in which theatrical inquiry can enrich arts education. It contributes to the academic discourse by providing a timeline of the evolution of the term theatrical inquiry and offers practical insights for educators looking to incorporate these approaches into their teaching practices in the arts. [ABSTRACT FROM AUTHOR]

This concept paper explores the need to apply a more flexible and personalized curriculum approach in art and design education. This approach aims to foster student creativity, empower learning freedom, and focus on the uniqueness of individual students. Literature highlights reveal several weaknesses in the conventional curriculum such as flexibility, emphasis on technical aspects, and a lack of interdisciplinary. Reforms in art education need to emphasize the integration of other disciplines, technology, and creative elements in the learning approach. A rigid curriculum structure can hinder the development of creativity and innovation. Therefore, students need more space to explore alternative and creative approaches in learning art and design. Self-directed learning has a huge positive impact on creative thinking and problemsolving skills, gives students the freedom to pursue their interests and inclinations, improves resilience, and encourages innovative thinking. A balance between student autonomy and educational goals is important. Students need to understand the learning objectives and be given the opportunity to choose a project that interests them. Formative assessment, a supportive learning environment, and collaboration between students are essential in achieving this balance. Taking into account the above recommendations, art and design education can become more dynamic, relevant, and can foster creativity and innovation among students. This is important in facing the era of advancing globalization and rapid digitalization. Therefore, a more flexible and student-centered curriculum approach is a positive step in advancing art and design education. [ABSTRACT FROM AUTHOR]

The purpose of the present paper is to map the characteristics of scientific papers related to culinary arts education and the competencies models theory. The methodology consists of co-word, co-citation, citation, coauthor bibliometric analysis, and the generation of visual maps on VOSviewer software. The results found 17 publications, 12 journals, 37 authors, 9 countries, 46 keywords, and 623 references. Scopus database is the one that shows more results; the search terms are competencies and culinary arts. The most critical years are in terms of the number of published papers, 2016 and 2017. The leading journals are The Culinary Science & Technology and Hospitality & Tourism Education. The research on the theme is based on subjects' labor relations, in the context in which they perform their training. American authors lead the ranking of publications, but they are not the most cited ones, no relationship is found in the institutional links of these authors. The contribution that this bibliometric study presents acts as a support for future research in order to avoid mistakes regarding the use of scattered terms, database choice, methods gaps, main references, and the main authors about competencies models theory on culinary arts education. [ABSTRACT FROM AUTHOR]

This paper reports on a collaboration between advocacy organisation, Sweltering Cities, artists and researchers who developed a multi-site research project that provided South West Sydney residents an opportunity to engage in drama and poetry workshops that gave voice to their lived experience of rising surface temperatures, as well as their desire for environmental protection and climate action. The research featured in this paper contributes to previous research that finds aesthetic modes of engagement to be powerful with regard to ecological awareness, capable of being a positive motivator of small shifts in thinking which are a precursor to climate action. [ABSTRACT FROM AUTHOR]

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The uneasy marriage of higher education and athletics can be seen through the conceptual lenses of former institution and National Collegiate Athletic Association (NCAA) President Myles Brand's Standard or Integrated View. The Standard View maintains that athletics serves as a business while the Integrated View argues that athletics should be appreciated as a form of education and art. Through these perspectives of athletics as a business, education, and art, this study surveyed faculty at one football bowl subdivision institution (n = 216) on their perceptions of athletics. Analyses demonstrated faculty perceptions were varied and contradictory as they noted athletics was simultaneously a business important for their institution, but also a detractor for higher education at large. Additionally, they perceived some developmental benefits of participation in athletics but still did not believe sports to be educational in nature. Implications for better understanding faculty perceptions of athletics while improving the education-sport marriage are discussed. [ABSTRACT FROM AUTHOR]

Entrepreneurship education (EE) plays a vital role in fostering an entrepreneurial culture and promoting the growth of the small- and medium-sized business sector in a nation. Research on EE has advanced extremely rapidly in the last two decades. These changes are evident not only in the quantity of published works but also in the evolving methods of academic communication, the rise of emerging nations as prominent contributors to EE research, and the shifting areas of focus in study themes. This current study aims to provide a comprehensive picture of these processes based on a big-data-centred bibliometric analysis of a corpus of 3787 articles that appeared in the Web of Science literature database. The bibliographic metadata was analysed using Biblioshiny, CitNetExplorer, and VOSviewer. To understand the most significant development trends, researchers employed the triangulation method, which included scientific mapping and epistemological analysis in addition to standard tools of bibliometric analysis. This has led to the identification of some study needs. First, improving EE methods in secondary school curricula; second, EE in adult education and the practicality of the findings for andragogy; third, EE in least developed countries and its unique challenges; fourth, combining EE with internet-based, innovative training and education approaches like gamification and simulations; fifth, EE's role and methodological development in societal economic integration; and sixth, women's unique EE requirements. On top of that, this study provides the basis for policymakers and practitioners to consider incorporating entrepreneurial education programmes, which can help to create a prosperous entrepreneurial ecosystem. [ABSTRACT FROM AUTHOR]

Creativity and design thinking skills are considered pillars in arts practice in general. Traditional arts education, in particular, involves a tension between pure technical skill and the ability to design creatively regardless of craft limitations. The present study focuses on eliminating the boundaries between craft and art and bridging the gap between technical skills and creativity in practicing traditional textile printing arts. The paper presents a teaching procedure that is based on exploring traditional textile printing within a new dimension and achieving a balance between both the technical and creative sides. The study proposes a survey model to investigate the impact of the applied procedures and understand students' perceptions of the full range of the traditional printing creative process in action. The conclusions of this study will aid in the development of traditional arts education and practice in general and their re-exploration as flexible, expressive, and creative forms of art. [ABSTRACT FROM AUTHOR]

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

Educators are concerned that children make progress in their learning. While there are both policy and professional debates about how progress should be monitored and assessed, the views of children are rarely considered. Grounded in the 'voiced' research tradition, this paper reports on 158 focus group interviews with upper primary school students in purposefully selected arts rich schools in England. Children were asked about what they thought progress in arts subjects was, and how it was achieved. No children talked about grades or marks and only a handful mentioned rewards schemes. Their own evaluations and those of significant others, teachers, friends and family were very important. Children saw progress as supported and shaped by teacher pacing, scaffolding and feedback. Their own commitment to practice, use of feedback, persistence and self-belief were also highly significant. We suggest that these children's understandings have implications for the work that arts teachers do, and in particular for the ways in which children use feedback and develop their own criteria for self-evaluation. [ABSTRACT FROM AUTHOR]

This paper shares the story of a group of four care experienced young people who participated in an arts project in Aberdeenshire. The research was an evaluative case study which gathered the views and experiences of the young people and the arts educators. The findings showed that by adopting a pedagogical approach to arts education, which was participant-led, a climate of trust and mutual respect was supported. The young people developed a growing sense of their potential as creative individuals and an awareness of possible careers in the creative industries, which previously had not been on their radar. [ABSTRACT FROM AUTHOR]

This paper explores the synergy between bioinformatics and bionic virtual reality technologies to enhance the creative process and functional analysis in ceramic art design. By integrating the principles of bioinformatics with bionic virtual reality, we develop a novel approach for creating ceramic artworks that not only mimic biological forms in shape, color, texture, and function but also leverage computational models to predict and optimize these properties. We employed a bionic virtual technology framework to construct a dynamic ceramic art design model, facilitating the realization of biologically inspired aesthetics and functionalities. Our case study involved students from three ceramic art classes at the School of Ceramic Design, School B, who utilized this integrated technology for their projects. The artworks were assessed on practicality, economy, aesthetics, and marketability, with average ratings of 6.20, 5.55, 6.93, and 6.67 respectively, all scores indicating the effectiveness of bioinformatic-enhanced bionic designs in meeting contemporary aesthetic and market demands. The results demonstrate that the use of bioinformatics in bionic virtual reality not only captures the aesthetic preferences of modern society but also enhances the value and innovation potential of ceramic art designs, thereby driving forward the ceramic design industry. [ABSTRACT FROM AUTHOR]

Departments of Arts and Humanities globally face increasing financial threat from falling enrolment, rising costs, and 'strategic realignment' at university level. In the UK, in particular, cuts to the Arts and Humanities sector are becoming endemic, with complex ramifications for prospective students as well as academic and professional staff. In light of these structural and ideological challenges, this paper proposes a revisiting of the philosophical work of Richard Rorty. Rorty has argued compellingly for the morally educative importance of the arts as well as the distinct gift of a liberal education more generally. Ultimately, however, we argue that Rorty's liberal ideals are radically threatened in the present context of neoliberalism and that they have been particularly problematised in philosophical and literary work since Rorty's death in 2007. The theoretical writings of Lauren Berlant as well as the literary fiction of Nicole Flattery and Natasha Brown are our key exemplars here. Through our analysis of these texts, we interrogate what we might desire of education beyond the liberal paradigm underpinning Rorty's thought; and we sketch a framework for the Arts and Humanities perhaps more responsive to the crises of our contemporary age. [ABSTRACT FROM AUTHOR]

Content and language integrated learning (CLIL) involves teaching an additional language through the study of a subject, and teaching the subject through the medium of the new language. CLIL approaches to additional language acquisition are widely adopted and broadly successful, though some content-subjects may be better suited than others. The acknowledged success of a program where the content-subject was The Arts is the basis for this illustrative case study. The setting is the middle-years of a school in China that prepares students aged 11–14 for future studies in English-speaking countries. The conceptual frame for this study is the signature pedagogies of arts education. Signature pedagogies are the distinctive, characteristic and widely adopted pedagogical practices associated with the specific discipline. The signature pedagogies framework serves to identify qualities of the learning and teaching in this study that are broadly and systematically practised, and therefore have relevance beyond the specific case. It was found that the teacher's skilful implementation of the signature pedagogies of arts education played a primary role in the success of the program. This finding supports the broader adoption of The Arts as a suitable content-subject for CLIL. [ABSTRACT FROM AUTHOR]

In the higher education institutions, "arts integration" as a teaching method refers to the integration of artistic practices and activities within general education courses. Arts integration is not only about teaching art as a subject, but rather, this technique integrates creative teachings, activities, and experiences into the subject matter that all students, regardless of their major, generally encounter. This research explores the impact and perceptions of students when it comes to the integration of arts in the general education course of higher education. The researchers used a descriptive-correlational research design that investigates the impact of integrating various art forms into the general education course or non-artistic subjects to recognize its potential to develop the students' holistic well-being. It highlights how arts may support more inclusive and engaging learning environments that embrace a diversity of intelligences and learning styles. A purposive sampling technique was used in data gathering because the respondents were all the teacher education students enrolled in Art Appreciation. In determining the significant difference in the perception of the respondents based on their demographic profile, the statistical tool used was t-test. The findings of the study reveals a high level of satisfaction with the teaching strategies employed in the Art Appreciation course, and the students have a positive perception of the impact of arts integration in their learning domains. Therefore, teachers and curriculum designers should include art-based instruction and assessments that allow students to freely express themselves while ensuring its alignment with the subject matter. Policymakers in higher education should promote arts integration, recognizing its role in enhancing student learning experiences, and overall academic performance. [ABSTRACT FROM AUTHOR]

There is a renewed focus on what constitutes a well-rounded education, as well as a growing interest in broader indicators of educational success, including social and emotional development and school engagement. However, identifying educational practices that improve such outcomes has proven elusive. We explore the role of arts education on a broad range of educational outcomes using administrative and survey data from Boston's public schools. We find that students receiving the arts in school attend more, are more engaged, and their parents and teachers are more likely to participate and be engaged at school, with larger effects for students with individualized education plans, students with lower standardized test scores, and students with a history of chronic absenteeism. These findings call attention to the pivotal role of the arts in providing students with socially and emotionally supportive learning environments that enhance relationships between students and schools. [ABSTRACT FROM AUTHOR]

Attending a concert may prove difficult for individuals with exceptionalities or disabilities and those who support them. While traditional performance environments may not feel welcoming or amenable for individuals with exceptionalities and their families, arts organizations have recently made efforts to produce concerts that address barriers to accessibility. These adaptive concerts, most frequently labeled as Sensory-Friendly Concerts, attempt to create environments suitable for diverse communities, supporting individuals and groups who are frequently underrepresented as audience members in performance contexts. This article explores adaptive music performances, contributing a model for sensory-friendly adaptive concerts supported by caregivers' perspectives through a post-concert survey. The model proposed includes four areas of adaptation: pre-show work, environment audit, extra-musical aids, and programming adjustments. The authors outline the various modifications with data points from a sample of adaptive concert caregiver attendees (n = 15), aligning the theoretical model with practice to provide practical examples and tangible outputs for researchers, presenters, musicians, educators, and policymakers. [ABSTRACT FROM AUTHOR]

This article analyses the educational possibilities of art installations in the training of future early childhood and primary school teachers. I start by reviewing the origins of installation art before presenting an experience designed for teachers based on the creation of scale models and installation experiences. Scale model installations constitute a tool for future teachers to explore contemporary artistic creation while fostering creativity and reflection on their role as educators. This study employs a constructivist qualitative methodology using action-based research and a journal to record the progress of the students throughout the project. The initial results demonstrate the educational value of this experience and its potential to generate further educational experiences to explore contemporary art themes and other areas of the curriculum. The use of installation art in education is compatible with a diversity of approaches, materials, and media and opens the door to new lines of research. [ABSTRACT FROM AUTHOR]

This study is aimed at determining the learners’ visual art representations and their cultural relevance. Given the background of the ongoing curriculum transformation in Zimbabwe, this study sought to understand learners’ visual representations and their cultural significance in an African context. The study is guided by the research question: how do visual art learners express their representations in the context of their post-colonial background, and why do they express themselves the way they do? Mignolo’s (1999) notion of decolonization is employed as the conceptual lens to explain an apparent continuation of colonial art practices. A multiple case study design was deemed appropriate to analyse learners’ art practices. Three schools were used as a sample in the Masvingo District, Zimbabwe. The data were collected through observation, analysis of visual images and interviews with teachers. The study confirms that visual art learners were not communicating their unique visions of their culture, feelings, and emotions independently. This study found that learners mostly draw inspiration from artefacts that have little cultural and African resemblance, sparingly applying media that portray Africaness, with minimal inclusion of an African identity. Recommendations are suggested to address the persistence of dominant Euro-centric artistic expressions. [ABSTRACT FROM AUTHOR]

Generative AI refers specifically to a class of Artificial Intelligence models that use existing data to create new content that reflects the underlying patterns of real-world data. This contribution presents a study that aims to show what the current perception of arts educators and students of arts education is with regard to generative Artificial Intelligence. It is a qualitative research study using focus groups as a data collection technique in order to obtain an overview of the participating subjects. The research design consists of two phases: (1) generation of illustrations from prompts by students, professionals and a generative AI tool; and (2) focus groups with students (N = 5) and educators (N = 5) of artistic education. In general, the perception of educators and students coincides in the usefulness of generative AI as a tool to support the generation of illustrations. However, they agree that the human factor cannot be replaced by generative AI. The results obtained allow us to conclude that generative AI can be used as a motivating educational strategy for arts education. [ABSTRACT FROM AUTHOR]

The aim of this case study was to investigate how children learn about gardens and gardening through art; how they express their thoughts through visual expressions and stories. The research data include eleven drawings and stories from children about nature and gardening and were collected during the summer of 2021 in Finland's only campus garden for teacher education. Additionally, six teachers were interviewed about their experiences with garden pedagogy. The data were analysed using descriptive thematic analysis. The findings include: the natural garden environment supports children's creative thinking as expressed visually and verbally; children learn a great deal about nature and gardening and outdoor pedagogy in gardens can be integrated with play, excursions, imaginary thinking and knowledge related to natural environments. The positive findings underscore the imperative to implement arts-based garden pedagogy in Finland, which has diminished greatly in recent years. [ABSTRACT FROM AUTHOR]

This study focused on how kindergarten teachers engage pupils in developmental art activities in Dodowa in the Greater Accra region of Ghana. A case study design was used to collect data through interviews and observations. A purposive sampling technique was used to select eighteen teachers from the nine basic schools in Dodowa. While some of the kindergarten teachers had an understanding of process and product art, others were unfamiliar with these concepts. Product art is typically utilized by teachers to engage pupils in art activities, although this approach may deprive the pupils of the benefits of other developmentally appropriate art activities. Alternatively, process art helps the learners to construct their own knowledge, fosters self-confidence and creativity, and improves visual communication, problem-solving and decision-making skills. [ABSTRACT FROM AUTHOR]

Although a growing body of research recognizes the importance of viewing argumentation as a means of understanding rather than combating others, little is known about how teachers cultivate this practice in classroom conversations when teaching argumentation. This study examines how argument can be taught in classroom discourse with an empathizing stance and generates associated pedagogical constructs. Adopting a microethnographic approach to discourse analysis, this study examines the key instructional events in an argumentative writing unit in two high school English language arts classes. The analysis demonstrates that the empathizing stance is introduced in the relationship between arguers and their warrants and the differences existing between arguers. It also generates four pedagogical constructs related to the teaching of argument with the stance: (1) identifying the connection between arguers' warrants and backgrounds; (2) transposing oneself into others' backgrounds; (3) exploring interlocutors' common and divergent grounds; and (4) situating argument in a broader context. It concludes with a discussion of the affordances of teaching argument with an empathizing stance. [ABSTRACT FROM AUTHOR]

Postmodernism has evolved in the field of art, and its presence and definition have been the topic of several studies. The overall perspectives of the visual arts teachers on postmodernism are important for incorporating postmodernism issues into the high school curriculum in Turkey, as they are teaching art history and conveying the practice of visual arts. A review of the literature reveals that there are no comparable studies that take visual arts teachers' perspectives on postmodernism into account. Therefore, this study aims to discover the perspectives of visual arts teachers on postmodernism. This article presents the findings and conclusions of the first research question of the Master's thesis, titled "examination of the reflections of postmodernism on art education". The study used a case study design, one of the qualitative research approaches. The sample of the study consisted of four visual arts teachers working in one of the central and three district schools in Yalova, Turkey. In the current research, two semi-structured interview forms and document analysis were utilized as data collection tools. The qualitative data were analyzed by the thematic analysis method. The themes of "teachers' general perceptions", "teaching process" and "reflection on students" were identified through the thematic analysis. This article includes a detailed analysis of the theme of "teachers' general perceptions". The results of the research identified the artistic and intellectual perspectives of the participating teachers toward postmodernism as outstanding features. [ABSTRACT FROM AUTHOR]

This reflective piece considers the question 'What do you learn when you study creative subjects?'. The author draws on pedagogical theory and practice to explore how centring a curriculum around the act of 'making something new' informs student expectations and experiences within a creative arts education. It concludes by arguing that educators should embrace the restless tension between the neatness of an aligned curriculum and the messiness of learning to create opportunities for students to try the possibilities of things. In doing so, they can help students make connections during their education and navigate a complex, changing and uncertain world beyond their studies. [ABSTRACT FROM AUTHOR]

Given historical patterns of unequal access to arts education, we used an ecosystem perspective to investigate Black Centered Arts and Eurocentric Arts in a mid-sized U.S. city, with a focus on youth programs, museums, and other youth arts organizations. We found that practitioner-leaders valued arts quality, equitable access, community embeddedness, and cultural preservation. Programs that provided access to Eurocentric arts tended to be older, larger, and better funded, and network analysis revealed a subnetwork made up largely of Black Centered Arts organizations. Results will inform an ongoing research-practice-philanthropy partnership structured to develop a more equitable city-wide arts ecosystem. [ABSTRACT FROM AUTHOR]

Collaboration continues to be a growing focus of teaching, learning and research in university art departments. We are also witnessing a turn towards ecological and multispecies approaches in contemporary arts practice and education across the university sector and creative industries. In this revisitation of our earlier work, we ask how the transition into ecological understandings of collaboration might disrupt and reorientate humanist ontologies of visual arts education in the university. We draw on posthumanist and new materialist theories to reconceptualize collaboration in ways that are responsive to the ecological entanglements that comprise a work of art under current climatological and biodiversity crises. From there we develop a cartographic analysis of collaborative works of art in the making, drawing on a year-long participatory study with third-year undergraduate art students. In the final section we revisit our proposition for 'becoming a work of art' through more-than-human collaboration and explore the implications of this concept for speculative pedagogic practice and curriculum making in arts education. [ABSTRACT FROM AUTHOR]

The article focuses on integrating arts into preschool literacy practices. Topics include the benefits, challenges, and strategies involved in incorporating art into early childhood education, emphasizing its role in enhancing literacy development, fostering creativity, promoting holistic learning experiences for young children, and artistic self-expression contributing to multimodal learning.

This study measured the environmental perception (EP) of higher music education in the United States through the Higher Music Education Organizational Adaptation Survey. Music leaders were surveyed (n = 100) using items adapted from EP research in other disciplines. Diverse music units were found to exhibit moderate levels of EP and organizational complexity was found to be a significant factor in EP level. This study is highly significant for academic leaders in music due to the rapid evolution of the music industry and the need for higher music education to understand the complexity of its environment. Results also hold significance for all creative fields in higher education as a measurement of the relationship between academia and industry. [ABSTRACT FROM AUTHOR]

This study aims to identify and analyze relevant characteristics associated with creative thinking, particularly in arts and design education. A systematic literature review was conducted following the PRISMA protocol, utilizing the Scopus database, where 292 studies were retrieved through search strings. From these, 187 studies were selected for the final analysis. The results highlight an emphasis on experiential learning, STEAM (Science, Technology, Engineering, Arts, and Mathematics), and interdisciplinary approaches as prevalent educational methodologies for fostering creative thinking. The identified techniques include interdisciplinary projects, artistic practices, nature-based activities, and the use of digital tools. The core skills identified include originality, fluency, flexibility, and elaboration. Furthermore, it was observed that most of the studies were conducted in higher education institutions. The study underscores the urgency of promoting research in specific regions, such as Latin America, to contribute to advancing and enriching the educational landscape in these areas. Additionally, it emphasizes the importance of fostering creativity from an early age. The significance of this study lies in its contribution to more effective pedagogical practices for the development of creative thinking that positively impacts education and prepares individuals for the challenges of the 21st century. [ABSTRACT FROM AUTHOR]

This article considers an arts-based project, Learning Returns (2023), that seeks to capture the experiences of adults who have returned to arts study after some time away from formal education. The aims of the project are twofold: firstly, to evaluate the combination of narrative inquiry and digital film-making hosted on YouTube as a method of investigating adult learning and secondly, through an analysis of the Learning Returns content, to discover what themes the participants considered important to communicate to an imagined, virtual audience. The findings suggested that the aesthetics of the videos/films interconnect with the lived experiences of the participants. The participants were able to give an account of their experiences spontaneously, and at the same time communicate messages of hope to prospective adult returners. It was also discovered that the editing process offers a means of analysing the content of the films that is analogous to the approaches associated with qualitative research. [ABSTRACT FROM AUTHOR]

In a challenging world, the spotlight on children's wellbeing has strengthened. There is extensive research about the ways in which well-designed arts education programs positively impact children's wellbeing. Despite this, arts education continues to be marginalised in schools. When researchers with arts education and leadership experience teamed up to consider the intransient nature of the resistance to arts education in primary/elementary schools, they conducted a collaborative autoethnography (CAE) to see if this offered new insights. The iterative process of sharing and interrogating personal stories to distil collective meanings (themes) highlighted four features of education programs that provide sustained support for children's wellbeing: centering in a discordant world; effective leadership; experiential processes, engagement, and trust; and harnessing the transformative potential of the arts. The CAE also pointed the team towards conducting future inquiries about the currently under-researched role of the school principal in instigating cultural change that sustains meaningful arts education. [ABSTRACT FROM AUTHOR]

As national and global policies emphasise the significance of social inclusion, a sense of belonging has increasingly become economically rationalised. Social exclusion is posed as an economic risk, and so neoliberal systems have commercialised and commodified social inclusion, promoting a transactional and privatised approach to 'belonging'. This issue is particularly significant in culturally diversifying urban contexts, as a desire to develop a transnational sense of belonging can be a central motivation for participants in recreational arts learning. In this article, we focus on how this economic mandate presents tensions in the non-formal arts education sector. While arts education businesses seek to gain the financial benefits of promoting a sense of belonging, they can wrestle with pedagogical philosophies that actively promote competition and hierarchies amongst learners. Our study, therefore, critically examines the experiences of migrant dance learners attending casual hip-hop classes in New Zealand. Engaging a qualitative, phenomenological research paradigm, our study gathers the personal narratives of these dance learners to reveal how the nexus of neoliberalism and inclusion is creating unresolved tensions in the hip-hop studio. While arts learning providers actively promote a sense of belonging as a dimension of their service, our study shows that learner expectations of and investment in social inclusion are confronted by prevailing studio pedagogies. This challenges common perceptions of non-formal arts education as inherently inclusive and establishes a framework for further critical research into the commodification of inclusion in the arts education sector. [ABSTRACT FROM AUTHOR]

Purpose -- In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education. Design/methodology/approach -- The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education. Findings -- Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education. Originality/value -- The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts. [ABSTRACT FROM AUTHOR]