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This paper examines the personal and professional experiences of the five arts leaders who co-wrote the foundation document for Australia's first national curriculum in the Arts. Their personal and professional backgrounds, which were explored during in depth interviews, drove the complex collaborative process that informed the first iteration of the "Australian Curriculum: The Arts." Though each couched their responses in the context of their background and arts discipline, they shared an awareness of the important role of the Arts in providing the analytical tools for children and young people to identify and subsequently challenge social injustice. The findings, which are presented as a group narrative using a Narrative Inquiry approach, reveal how the five arts leaders' individual lived experience, disciplinary experience and expertise, and commitment to collaborative leadership informed their approach. It was one driven by their shared belief that all Australian students, regardless of their background, are entitled to a quality arts education.

In an uncertain labour market, the questions around the employability of graduate students take on a new urgency. Fears about the graduate market in the coming years are acute and are compounded by a sense that there is a large disconnect between a university education and what is expected in the workplace. Australian labour market trends clearly demonstrate that the skills most in demand by Australian graduate employers are precisely the transferrable skills which are honed by doing a HASS degree at the university. However, HASS academics do not usually talk about the skills and attributes students are gaining during their university studies and how this is useful in the workplace. Creating this awareness in both staff and students is immensely important for future graduates to survive and excel beyond university. Based on focus groups, interviews, and student-led projects over the last three years, this paper explores how to balance the need to engage with deep disciplinary knowledge with the understanding that this knowledge is only useful in the real world if accompanied by explicit skills. By using a case study, this paper showcases how to articulate skills and knowledge to HASS students to prepare for workforce. Furthermore, it focusses on how graduate attributes and learning outcomes can be connected from assessment tasks to classroom teaching.

The main objective of research is to ascertain the existing situation of STEAM education research over three decades based on the Scopus database. The entire documents are 256 findings globally data shorted by year, region, and highest cited to 100 documents. The analysis technique used VOSViewer, Microsoft Excel and word cloud generator. The result of document type article is ranks first in Global and conference paper rank first in South East Asia. The sources that have published the top cited papers are "Journal of Small Business Management" in global and the "Education Sciences" in South East Asia. Meanwhile, the author with the most citations is Jeon M from the U.S.A. Specifically, the country with the most publications is US with 31 articles and 2553 citations. Whereas the majority of Southeast Asian countries have 9 articles and 10 citations. Supported the visualization analysis, VOSViewer's global region is divided into 4 clusters and 62 keywords to assist with the visualization analysis. A pair of clusters containing 14 keywords each for the South Asia region. The terms program, project, environment, model, and implication are frequently used in STEAM throughout the world. The keyword STEAM education appears in analyses conducted in South-East Asia. The outcome of this research can serve as a resource for scholars interested in STEAM and education. Further research into STEAM education trends can be conducted by focusing on a single region or on more specific issues.

Dewey (1938) once wrote that the most effective forms of learning connect intellectual processes with emotion, which is able to inspire curiosity and excite the learner. This paper adds to the body of research that attests to the transformative role of affect in teacher education, which is able to be cultivated through arts-based service-learning experiences. Pre-service teachers at two universities in Sydney, Australia were placed in service-learning settings that were based around participatory experiences in drama and storytelling, music, dance or visual art. The pre-service teachers' reflections on the placement revealed a transformative experience which combined emotional learning with critical analysis of social justice issues as they relate to education. As part of their placement, they experienced arts engagement that utilised affect and emotion as a transformative pedagogy. They broadened their understanding of the role of teachers, both in an institution and in society. These emerging understandings led them to find voice as advocates, investigate arts education and community projects as alternative career paths and re-evaluate their own perceptions of quality teaching. Some participants continued engaging with the community arts projects after the placement had concluded, and others became advocates for the arts in education and society. Finally, they adopted a critical stance on social justice issues, and shed light on the ways that arts learning service-learning placements can become deeper engagements, leading to sustainable benefits for all parties.

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.

Background: Mental health concerns prevent positive well-being and are key challenges for Australian children and young people. Arts organisations play a role in enhancing the positive mental health of children and young people. This paper describes the involvement of young people and their parents in the development of a resource for arts organisation's intentional support of social and emotional well-being. Methods: Six focus groups were conducted with 19 young people who participate in dance, drama, and circus programs, and 17 of their parents. Questions explored how the arts currently, and potentially, support their social and emotional well-being. Results: Three overarching themes: "Connecting with Others;" "Being Myself;" and "Teaching Methods," plus 14 sub-themes were identified. Conclusion: A framework of well-being factors and pedagogies was developed to guide the creation of a resource to help support the social and emotional well-being of young people participating in arts programs.

Capacity to teach the arts is a problem reported by many teachers in primary (elementary) school settings in Australia. This paper reports on research which explored how to build primary school teachers' capacity in arts-based pedagogy. It outlines the design and development of a co-mentoring program between arts mentor practitioners and generalist primary school teachers which used an Arts Immersion approach. The findings of this research reveal the effectiveness of co-mentoring as an approach to support professional learning in arts education, and the use of an Arts Immersion approach to improve teachers' capacity in planning, facilitating, and assessing authentic arts experiences.

Despite the increasing levels of cultural and linguistic diversity represented in Australian classrooms, many universities do not adequately prepare teachers to teach English as an additional language or dialect (EAL/D). Moreover, in neoliberal educational regimes, teaching tends to remain steadfastly focused on monolingual conceptions of literacy development, and 'evidence-based' practices tend to reflect this stance. In this paper, we argue that due to the diversity and complexity of EAL/D learner cohorts, and current systemic constraints, teacher-researcher collaborations can be one avenue available to teachers to develop their knowledge and skills whilst simultaneously guiding future research. Drawing on 'identity texts' and arts-based approaches, through this case study, we describe our teacher-researcher collaboration in a super-diverse primary school classroom setting to illustrate the 'messiness' of classroom research, the challenges, and the considerable opportunities to effectively respond to EAL/D learner needs whilst valuing and embracing their diverse linguistic repertoires.

Recognition of the inherent value of the Creative Arts in society seldom extends beyond rhetoric to meaningful action. The powerful ways the Creative Arts are positioned within curriculum documents, for example, stand in contrast to entrenched problems such as poor teacher attitudes, disengaging teaching practices and low status. Initial Teacher Education (ITE) programs and preservice teachers are essential to the long-term improvement of Creative Arts education. Creative Arts in ITE is also an interesting context in which to examine the divide between Subject Matter Knowledge (SMK) and Pedagogical Knowledge (PK) that has influenced both educational research and policy. This paper reports on a mixed methods case study of 24 preservice teachers' Creative Arts teaching efficacy beliefs and perceptions as they completed an evidence-based, discipline-focussed creative arts subject. The Likert scale efficacy data, collected via the CATEBI-B, modified from the established STEBI-B (Enochs & Riggs, 1990), were analysed via MANOVA with repeated measures and T-tests. These analyses were complemented by thematic analysis of qualitative survey data. Results showed statistically significant increases in participants' personal Creative Arts teaching efficacy upon completion of the subject. The significance of Creative Arts teaching outcome expectancy increases was questionable and the qualitative results were somewhat mixed despite being mostly positive. Implications of these findings and directions for further research in this space are discussed.

This paper draws from a cross-cultural study of young children's arts curricula. The initial phase of the original study consisted of a comparison of the intended arts curriculum for 5--6 year old children in China and Australia. This was followed by a survey in Beijing exploring 88 contemporary early childhood educators' beliefs about children's arts education. A case study of the enacted curriculum took place across three kindergartens in Beijing. The data was coded and analysed using grounded theory methodology. The research presented in this paper reported a diverse understanding of children's creativity among the participant EC educators; it revealed that a pedagogical dilemma of demonstration remains as a challenge to early childhood arts educators. This study provided qualitative descriptions and examples of Chinese Beijing children's arts education in this era of globalisation. Utilising Foucault's (1991. "Governmentality." In "The Foucault Effect: Studies in Governmentality," edited by G. Burchell, C. Gordon, and P. Miller, translated by R. Braidotti, 87-104. London: Harvester Wheatsheaf) theory of governmentality as a critical lens to view the issues in this field, the study broadened perspectives regarding the education philosophy and practices of early childhood arts curriculum, in particular, for the cultivation of young children's creativity.

There is a critical need to consider ways to enrich the educational experiences and well-being of adolescents when the lack of empathy in the world is high. This paper presents the concepts of "Artful Empathy" and "Artful and Empathic Learning Ecology." The concepts are exemplified from a multi-site case study within Australian secondary visual art studio classrooms. The article demonstrates how learning and making art in an artfully empathic ecology can support the legitimacy of diverse and marginalized voices. Arts-based performative approaches may facilitate empathic knowing across disciplines with global traction.

This paper explores the role of the Senior Project Officer: The Arts for the Australian Curriculum Assessment Reporting Authority (ACARA) in facilitating the writing of the foundation "Shape of the Australian Curriculum: The Arts" (2011) paper for the national curriculum, with a particular focus on the discipline area of music. The collaboration between the five arts specialists was underpinned by an acknowledgement that each Australian student was entitled to a high-quality arts education involving each of the five arts forms of Dance, Drama, Media Arts, Music and Visual Arts. As it was for the other arts forms, the music curriculum needed to cater simultaneously for music specialists, primary generalist teachers and secondary teachers across a variety of school contexts. This balancing act was further problematised by that fact that each of the States and Territories adhered to particular approaches to music education that were often incompatible. The researchers have used a Collaborative Autoethnography approach (CAE) to explore the Senior Project Officer's experiences with the arts, particularly music at school, and her later involvement in the arts through her professional career with a focus on the role of the Senior Project Officer: The Arts. Two major themes emerged from the CAE: the impact of schooling experiences and diversity in pedagogical approaches. These themes highlighted the social justice principles of equity and accessibility which underpin the "Australian Curriculum: The Arts."

This paper will explore the key findings identified in the five arts discipline-specific papers which comprise this special theme issue. Each of the participant researchers have situated Dance, Drama, Media Arts, Music and Visual Arts within the context of the "Australian Curriculum: The Arts" and what they characterise as its social justice imperatives. A narrative phenomenological approach has been adopted to enable the participant researchers to socially co-construct an analysis of their experiences working with the "Australian Curriculum: The Arts" including challenges, implications and the future for their respective discipline areas and the Arts overall. The three key themes from these collective voices revealed a quality arts education is an entitlement for every child and young person; the Arts provide important opportunities for children and young people from diverse backgrounds and cultures to demonstrate their learning, express themselves and participate; and arts educators and the Arts industry need to work together to strengthen community understanding about the value of the Arts in education. This process provided important insights into how exposure and engagement with the Arts shape the ways in which children and young people make meaning in their lives, enhance their overall wellbeing, increase their sense of social responsibility and contribute to a socially-just society.

This paper re-visits the Media Arts curriculum 10 years after initial discussions within the Australian Media Education community helped to shape the content and contexts for teaching about media in Australian schools. 10 years is a long time in media history, particularly with the rise of social media and digital platforms as major venues for entertainment, information dispersal and social, cultural and political discourse. Media Arts was developed towards the end of the 2000s, when the focus in media literacy research was on 'participatory culture'--the idea that digital media allowed almost anyone to be a media producer and consumer. In this context, Media Arts' focus was on identifying the knowledge and skills young Australians required to creatively and productively participate in media culture. The use of digital media in society in the 2010s, however, drew attention to many of the problematic consequences of digital participation, including the ambiguous role of the digital platforms in mediating social and culture discourse. This paper investigates what should be updated in future versions of the Media Arts curriculum, particularly to respond to challenges such as disinformation, the media industries' shift in power from Hollywood to Silicon Valley, and the impact of algorithmic culture on creative participation. The paper argues that while is it important for young people to develop creative and practical skills to make their own media, it is just as important for them to think critically about the technological contexts of digital media production, distribution and use, and its impacts on society and individuals.

Ten years have passed since the first meetings of Arts advisors to start identifying the priorities and approaches that the Arts may take when formalised into a national curriculum structure. Now the time has come for reviewing the past to inform the future. Now is the time for reviewing, interrogating and challenging the "Australian Curriculum: The Arts" for a socially just world. The purpose of this paper is to focus on the process of positioning Visual Arts in the curriculum and the role of Visual Arts to meet social justice imperatives. The paper presents a critical discussion of the Arts and a critical consideration of my role in the writing of the shaping papers. This approach allows an identification of some highlights and challenges along the way. The more philosophical part of the discussion addresses the politics of curriculum and the politics of knowledge through Visual Arts, as it situates the underpinning principles of aesthetics and meaning-making through the Arts. The paper shows how acts of hospitality disrupt practices of domination and marginalisation; and how such acts activate ethical practices of social justice in the Arts, and Visual Arts in particular. The paper claims that Visual Arts as a learning area has a potent role in reflecting and shaping attitudes to social justice, and that education in Visual Arts may contribute to authenticating and legitimising one's place in the world based upon credible ethical foundations.

Purpose: Responding to increasing external pressure, universities are developing new strategies to illustrate the impact of their degrees on graduate employability. This paper investigates how alumni regard the development of their professional networks during their tertiary education in relation to employability and the associated pedagogical implications. Design/methodology/approach: A qualitative approach using semi-structured interviews with 18 business and arts alumni from a regional university. Findings: The findings reveal the importance of developing a professional network by cultivating social capital while at university. Alumni identify all forms of work-integrated learning (WIL), connectedness through social media, the role of university staff and volunteering as concrete ways to develop a professional network and enhance employability. Research limitations/implications: This paper has pedagogical implications to develop graduate employability and WIL. Universities should draw from alumni networks to help develop students' bridging capital through industry-facing WIL projects. Educators should design assessment tasks in which students develop contacts and networking capabilities with alumni and other professionals using various platforms (e.g. social media). In addition, educators should promote the benefits of voluntary work and invite alumni and other industry stakeholders to co-design and co-teach areas of curriculum. Originality/value: Drawing from the experiences of alumni re-routes the channel of communication from institutions expressing the importance of professional networks in relation to employability, to credible industry alumni confirming this importance. Few previous studies have taken this "outside-in approach" to emphasise and validate the importance of developing professional networks in relation to employability, particularly at regional universities.

Improving Indigenous students' literacy is a major priority area for the Australian Government, receiving significant funding to address below benchmark English literacy standardised test results. Despite this, recent benchmark tests suggest Indigenous students continue to achieve well below the national average. This systematic review discusses peer-reviewed and evidence-based publications that report on significant literacy programmes to investigate which aspects of literacy are their focus, which are identified as successful, conditions needed for success, barriers to success and measures of success. While most programs reported significant literacy improvements, all identified barriers to success and/or sustainability as outlined in this paper. This review also utilises the four resources literacy model and multiliteracies theories to map literacy gaps. When considering decades of literacy research, there were significant gaps in the represented literacy skills, with the dominant focus on codebreaking, and very few programs addressing critical literacies, multiliteracies or creativity skills. The review of the papers highlighted the need for consideration of ways to design balanced and place-based literacy programs; school-community literacy partnerships; access to training and resources for schools and communities around literacy and school/community research projects and agency for teacher and school leaders to be professional context-based decision-makers.

Purpose: This paper focuses on the donation in 1888 of a Sèvres Vase to the Education Department of Victoria after the International Exhibition in Melbourne. Using the vase as its focus the paper reflects on what this donation may be able to tell us about the impact, primarily on education, of a series of International Exhibitions held both in Australia and internationally between 1851 and 1900. The life of the Sèvres vase highlights the potential of the Exhibitions for the exchange of ideas internationally, the influence of the International Exhibition movement on education and the links between a 19th-century gift and the teaching of Art in 1930s Melbourne. Design/methodology/approach: The paper examines one object in relation to education in its wider historical context through a reading of the archival records relating to the Melbourne Teacher's Training College and Melbourne High School. Findings: The influence of the educational exhibits of the 1888 Centennial International Exhibition held in Melbourne are shown to have had an impact on the design of the Melbourne Teachers Training College. Originality/value: This paper provides a new and original perspective on the Melbourne Teachers Training College and its foundation through its library and museum collections.

This paper examines Karagiozis--Greek shadow puppet theatre for children--as a way to explore how the Arts might support socially just education in the early years. As authors from diverse cultural backgrounds with different experiences of arriving and residing in Australia, we consider themes of social justice identified in a Karagiozis play and an interview with a Greek-Australian Karagiozis puppeteer, drawing on Nussbaum's (2000) Capability Approach. Layered analysis of the data provides a basis for examining: (1) the potential of Karagiozis for exploring social justice themes with young children; and (2) intersections between social justice themes identified in Karagiozis and circumstances for multicultural groups in the Australian context. This paper builds awareness about the value of employing the Capability Approach as a framework for exploring matters of social justice and contributes to dialogue about the value of the Arts in opening possibilities for young children's learning and meaning-making about social justice matters in local and global contexts.

This paper reports the findings of a project that investigated uses of electronic portfolios (ePortfolios) in the creative and performing arts at four Australian universities and raises four significant areas for discussion: engaging technologies as an ongoing requirement of planning, delivery and evaluation of teaching and learning in higher education; ePortfolios and their implications for curriculum planning; the influence of ePortfolios on learning, self-awareness and reflection; and differences in ePortfolio expectations and uses between the varying specializations of music study in higher education. Identifying marked differences between the four higher education institutions in this project and their applications of ePortfolio work, our discussion supports the hypothesis that ePortfolios cannot be applied generically across the arts; rather the ePortfolio requires qualification in expectations, roles, applications and theorisations. The paper makes recommendations for higher arts educators and highlights some of the strategies that heighten the development of professional practice and related learning.

Reflection is an essential part of students' critically reflective development within experiential-learning contexts; it is arguably even more important when working cross-culturally. This paper reports from a national, arts-based service-learning project in which students in creative arts, media and journalism, and preservice teachers worked with Aboriginal people in urban and rural areas of Australia. The paper uses Ryan and Ryan's (2010) "4Rs model of reflective thinking" for reflective learning and assessment in higher education to ascertain the effectiveness of the project work toward engendering a reflective mindset. The paper discusses how students learned to engage in critical self-monitoring as they attended to their learning experiences, and it describes how they "wrote" their experiences and shaped their professional identities as they developed and refined the philosophy that related to their developing careers. Examples taken from the narratives of students, community partners and academic team members illustrate the principal finding, which is that through a process of guided reflection, students learned to reflect in three stages: a preliminary drawing out of existing attitudes and expectations; a midway focus on learning from and relating to past experiences; and a final focus on reciprocal learning, change and future practice. The three stages were apparent regardless of program duration. Thus, program phase rather than academic year level emerged as the most important consideration when designing the supports that promote and scaffold reflection.

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 explores the relationship between early career teachers' (ECTs) work identities, neoliberal education assemblages, and mandated professional standards. The task of supporting and retaining beginning teachers has received considerable attention in recent years in the face of alarming rates of teacher attrition internationally. The study, undertaken in Western Australia, explores how ECTs construct identities in response to competitive educational discourses, high levels of individual stress, insecure employment, excessive work-loads and limited formal support. The Australian Professional Standards are an example of 'organisational learning' that aims to support ECTs. However, our research suggests that in practice a managerial 'tick the box' approach to addressing the Standards renders them ineffective. We consider how embodied teacher identities are moulded in neoliberal secondary schools through concepts of performativity. This paper concludes that the performing arts can offer creative, collaborative and impassioned approaches to encouraging authentic teacher identities to support and retain ECTs.

With global conflict currently riding at its highest levels in the past 30 years, the international community has recognised the importance of engaging young women and men in shaping lasting peace. In 2015 the United Nations Security Council passed a ground-breaking resolution, Youth, Peace and Security: Resolution 2250 (United Nations Security Resolution 2250, 2015). This urged member states to increase inclusive representation of young people in institutions to establish mechanisms for the prevention and resolution of conflict, and to counter violent extremism. Youth were finally recognised as 'the missing peace' in the role of global peace processes. The United Nations acknowledged the potential for good of these 1.8 billion young people who, on a daily basis, seek creative ways to prevent violence and consolidate peace across the globe in devastated and conflict-affected societies. Technology-based peacebuilding practices, collectively known as Peacetech, were enshrined as a route forward in this complex task. Peacetech, combining the strategic use of technology in peacebuilding practice, has been pioneered as one pillar of Resolution 2250. Post-conflict education programs often deliver Peacetech's technology-based peacebuilding programs to post-conflict youth groups. This paper on Peacetech is divided into three parts. First, it outlines the definition and goals of Peacetech. Secondly, it outlines the definition and goals of Peacebuilding and outlines the significant role post-conflict education can have in peacebuilding. Thirdly, it highlights three Peacetech case studies evaluated in the field by the author. Overall, it is hoped that the paper will enthuse researchers in both the education and development fields to engage in further extensive research on post-conflict education.

Processes of curriculum reform are often a period of upheaval for teachers and schools. As values and priorities change and new knowledge and skills are required, teachers find themselves occupying new positions upon the school landscape. In the case of the Australian Curriculum: The Arts, some of the concerns emerging from recent reforms include insufficient class time to cover the new content, inadequate support and resources for planning, and challenges stemming from five distinct arts subjects being grouped into a single curriculum, without a shared experience as "the arts". This paper explores the impacts of this particular curriculum reform on three music teachers' work, specifically the ways in which they position themselves and their work as music teachers in relation to the arts curriculum. Their stories highlight the importance of professional networks and relationships in developing new curriculum knowledge, and point to possibilities for developing shared understandings as teachers of the arts.

This paper responds to the need for a deeper understanding of gallery educator practice. Focusing on a significant encounter in a major city public gallery, it describes how narrative inquiry offers new insights into how experienced gallery educators shape school education sessions based on prior knowledge and experience, and in-the-moment observations and judgements. Responding to artworks, artists, gallery spaces, and students' needs and interests, gallery educator practice is infused with 'pedagogical tact'. Narrative inquiry makes this complex teaching visible and, in doing so, affords a valuable approach to professional learning.

In this paper we propose the concept of 'becoming-with' in relation to the experience of the catastrophic fires in the summer of 2019-2020 in Australia, and their implications for research into young children's response to bushfires, and their learning about bushfire recovery, which resulted in the development of an arts-based project to explore emergent curriculum and pedagogies for planetary wellbeing. We draw on Deleuze and Guattari's theorising that 'the self is only a threshold, a door, a becoming between two multiplicities'; and 'Spatio-temporal relations' as 'not predicates of the thing but dimensions of multiplicities of events as encounters' to theorise how 'becoming-with' fires enabled the development of emergent curriculum and pedagogies in an early learning centre, which can ultimately contribute to planetary wellbeing.

This is a co-constructed narrative between both Marie, an early career teacher, Stephen an artist and colleague in the school's creative arts faculty and Colin, an Aboriginal teacher and researcher. They met throughout 2012 and discussed issues that related to their discursive interactions that occurred in this small rural school between its teachers and the town's largely Aboriginal community. These discussions were conducted within the context, of Marie's experiences as a new scheme teacher, Stephen's reflexive observations as a teacher of many years' experience and Colin, who had worked with the school on various curriculum projects. These narratives give witness to their experiences, their failures and successes and of the discursive concerns seen to affect school student success and community relationships. These narratives connect with the town's history of race relations and the aspirations and concerns of Aboriginal people living in this community. This paper, which focuses on Marie's efforts to engage her Year 8 music students in the new and 'alien' environment is juxtaposed with Stephen's, whose commentary, based on proximity and practice, gives a counter insight into the world of teaching. This paper is a three-way critical reflection on the place of contested and conflicted relationships between teachers and students, the impact of teachers' limited appreciation of the histories of this community and its impact on their lives.

This paper explores understandings and implications arising from research conducted into how home educating families approach learning in the creative arts. Through a series of online focus groups with 14 Australian home educating families, the authors sought to understand the strategies and learning activities that families employed when teaching their children about the arts, and the factors that influenced this process. An earlier paper based on this investigation uncovered the strategies employed by participating families, and in this successive paper, they now focus on the variety of ways that the arts learning strategies were flexibly incorporated into individual educational family practice according to the fluctuating needs and dynamics of individual contexts. The findings highlight how families engage in arts learning as a form of sociocultural practice, with individuals as joint members in a family 'Community of Practice' and where authentic, collaborative and child-centred arts experiences are valued.

Many countries, including Australia, China, the United States, the United Kingdom and New Zealand, have included art subjects in their core curriculum. Using the theory of governmentality as a critical lens to investigate the intricate power--knowledge system in relation to curriculum, arts and pedagogy, this paper makes a comparative document analysis of two contemporary arts curricula for children aged 5-6 years--the Beijing Kindergarten Happiness and Development Curriculum in the arts learning area (upper class in kindergarten), and the Australian Curriculum: The Arts (Foundation level). Curriculum is best understood as a multi-faceted phenomenon and this paper draws from research which categorized curriculum into three phases: the intended (or planned) curriculum, the enacted (or implemented) curriculum and the experienced (the learner experience) curriculum. By focusing on the first phase: the intended curriculum, this paper compares the documents that comprise the planned curriculum from two very different contexts, and thus makes a contribution to cross-cultural understanding of early childhood arts curriculum in ways that may lead to social change.

In this paper, we analyse results from one classroom session within an 8-week program in which Year 10 students constructed 'trash' puppets of endangered Australian animals. In making the puppets and using them as part of a 'theatre in a suitcase' performance at Melbourne Zoo, students were expected to integrate both scientific and artistic goals to demonstrate knowledge of specific endangered species. In this process, students needed to learn how their more immediate, everyday positive and negative aesthetic responses could be made continuous with a scientific aesthetic to produce both a coherent puppet and an advocacy performance. Through micro-ethnographic practical epistemology analysis of video data of this session, we demonstrate how this mix of everyday and subject-specific aesthetic responses, judgements and intentions interacted to shape and promote students' learning in science. In addressing this multimodal and multi-purpose task, students learnt and applied science knowledge to a real-world issue of species endangerment.

Arts education in Western Australian primary schools consist of learning opportunities outlined by mandated curriculum. However, assumptions underlying this curriculum involving access, resources and support impact schools' capacity to implement the curriculum without them being adequately addressed by the written curriculum. Drawing on the policy enactment theory of Ball, Maguire, and Braun (2012), four contextual variables (situated contexts, professional cultures, material contexts and external factors) are used to highlight the differences between the written published curriculum and the implemented, practised curriculum. Drawing on interviews with 24 participants across four schools issues of geographic location, use of arts specialists, appropriate learning spaces and the stresses associated with mandated literacy and numeracy testing are reported as contextual pressures by this study. This paper details the disruptive interference of these contextual pressures that we describe as 'noise.' The provision of a better understanding of this contextual landscape brings schools and teachers away from the 'noise' of disruption and closer to curriculum harmony.

This paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority's writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others' stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.

The landscape of tertiary education has significantly changed in recent years with increasing pressure on universities to "globalize" and expand their reach internationally. In this context, there are a range of pedagogical and cultural issues to consider when designing curriculum to address the needs of students taking courses in different geographical locations. In addition to ensuring equivalence and quality, developing context-specific learning resources is a critical part of international delivery. Providing flexibility and autonomy to meet specific geocultural teaching and learning needs is vital. Programs and courses benefit from collaboration and connectivity between students and staff in all locations to ensure meaningful global learning environments. This paper focuses on a case study from an Australian University and examines how curriculum and delivery modes can be adapted to address the changing needs of transnational education a global context. The case study involves the renewal of a core undergraduate art history and theory subject that is offered in art and design programs across three different locations (Melbourne, Hong Kong and Vietnam). A series of learning materials and assessment tasks were designed to maximize a blended learning environment comprising face-to-face workshops, lectures, and online components. The result is a technology-enabled, common curriculum framework designed to allow for content to be adapted for local delivery.

Within the specific context of "The Australian Curriculum: The Arts", this paper explores how teachers of the Arts and teacher educators encounter and enact curriculum change. Adopting Ewing's notion that curriculum is a complex web of varying stories and storylines that are impacted on by teachers' underlying philosophy, we suggest that Arts teachers embrace the intent behind "The Australian Curriculum: The Arts". This paper unearths and explores insights gleaned from teachers looking inward and reflecting on their own personal curriculum journeys. The learning dimensions of conceptualising, experimenting and developing, reflecting, resolving and communicating are applied to investigate the implementation of the new curriculum. This article shares data from a number of Arts teachers' interviews with the authors in relation to their thoughts on the implementation of the new curriculum. Two key themes emerged from these interviews, these being navigating challenges and the implications of personal attributes in encountering and enacting change. Interestingly, a number of qualities associated with Arts practitioners such as creative and lateral thinking, resilience and flexibility emerge as significant contributing factors in regard to how teachers encounter, enact and become curriculum change.

2020 has been marked by disruption on a global scale due to a range of compounding crises including the ongoing COVID-19 pandemic. Many community arts responses to the pandemic originated from individuals rather than by means of concerted or sustained sectoral responses. This paper uses reflections from Ireland, Australia, and Mexico to discuss the precariousness and vulnerability of the community arts sector and the artists and educators within it at this profoundly difficult time. We reflect upon some of the artistic and educational innovations and experimentations that have come about. We simultaneously examine the work of artists and arts organizations on a paradigmatic level by reflecting upon the role we play in perhaps involuntarily sustaining inequalities despite articulating a desire for change in the work that we do. We argue for the community arts sector to draw upon its imagination and bravery to reflect, assume responsibility, and recast the world into what we want it to be, rather than rebuilding the old, broken one in an attempt to return to what is perceived to be normal. Finally, in turning to arts education policy, we interrogate the barriers and enablers of change in the arts in a post-COVID world, discussing the influencing policy factors of sectoral weaknesses; individual resourcefulness and resilience; the desire for revolution; and the importance of love.

Many universities in Australia and internationally now offer education degrees entirely online, without any requirement for face-to-face learning on university campuses. The transition to online learning has occurred rapidly, and has had particularly strong uptake in Initial Teacher Education. This paper examines the perspectives and experiences of eight academics in Australian higher education who teach creative arts courses to pre-service teachers via online modes of delivery. Research indicates that insufficient opportunities have existed for some time in adequately providing opportunities to pre-service teachers to develop the arts teaching and learning skills, and these concerns are potentially compounded in online contexts which do not readily permit the interpersonal, kinaesthetic and collaborative engagement with arts-specific materials and processes that are usually central to creative arts learning. Using in-depth interviews and thematic analysis, the researcher sought to understand the individual perspectives and experiences of arts academics who now deliver creative arts learning in teacher education online. The research reveals that arts learning must be significantly re-imagined for the online learner, that the potential to do this can be realised, but that additional support will be required to ensure this is a consistent reality.

Purpose: Third-party arrangements where a university offers its degrees in collaboration with another institution are not a new phenomenon, particularly when the third-party arrangements occur in the form of a cross-border education (or widely known as transnational education). Drawing on a critical review of the literature available on quality assurance of domestic third-party arrangements and through the use of interviews with the sessional teaching staff, the paper offers theoretical as well as practical views on the domestic third-party arrangement and seeks to inform key stakeholders in the academic management of such collaboration. Design/methodology/approach: The study was undertaken with 40 sessional academics who are involved in teaching postgraduate courses at several third-party education providers and universities with metropolitan campuses in Australia. Focus group interviews were conducted with 8-10 participants in each group. The qualitative study included seven open-ended questions. Each focus group interview was between 45- 60 minutes. Findings: The study found 11 universities in Australia offering courses in third-party arrangement with a focus on international students. Online third-party arrangement is also gaining momentum. The study found the following areas that require attention: induction and professional development, quality assurance arrangements, maintenance of standards, adequacy of resources and infrastructure and risk related to academic quality. Research limitations/implications: Limited study has been conducted on third-party arrangements where a university, usually located far from the city vicinity, works in a collaborative mode with another institution, primarily a private institution, to offer degrees at metropolitan city areas in the same country. Further research is needed with a large number of participants. Originality/value: The study is undertaken for the first time in Australia. No research has been undertaken on the growth and quality assurance of a third-party arrangement in Australia and other developed countries. The study involves the engagement of the sessional academic staff.

This paper reports on the experiences of creative practice graduate researchers and academic staff as they seek to comply with the requirements of the Australian "National Statement on the Ethical Conduct of Research Involving Humans." The research was conducted over a two-year period (2015 to 2017) as part of a wider project 'iDARE -- Developing New Approaches to Ethics and Research Integrity Training through Challenges Presented by Creative Practice Research'. The research identified the appreciation of ethics that the participants acquired through their experience of institutional research ethics procedures at their university. It also revealed a disjunction between the concepts of ethics acquired through meeting institutional research ethics requirements, the notion of ethics that many researchers adopt in their own professional creative practice and the contents of professional codes of conduct. A key finding of the research was that to prepare creative practice graduates for ethical decision-making in their professional lives, research ethics training in universities should be broadened to encompass a variety of contexts and enable researchers to develop skills in ethical know-how.

Generalist teacher educators in Australia are struggling with an impossible expectation in the area of arts education. This is due to a cascading trio of systemic issues. Firstly generalist teachers are entering their teacher education courses with variable and often minimal personal arts training. Secondly they are ill supported to improve their arts discipline knowledge through a lack of time given to each arts discipline during their courses. Finally they are expected to deliver the arts curriculum, often without extensive professional support, to their classes at the same quality and level as a specialist arts educator. At present, the research has focused on individual arts disciplines, not the effect of these cascading systemic issues on the confidence and competency of pre-service teachers across multiple arts disciplines. This paper reports on the findings of a study that tracked the levels of self-efficacy across four arts disciplines and suggests new approaches to this impossible expectation.

This paper outlines a journey of arts-based inquiry into teacher education and identity transformation in the transition to teaching, guided by Barone and Eisner's Seven Features of Arts-Based Educational Inquiry. Employing a theatre-based research approach the researcher investigated teachers' epiphanic or revelatory "first" moments of identity transformation, culminating in the creation of the play script and performance: "The First Time." The article discusses what Barone and Eisner's works offered this arts-based researcher on their journey. Outcomes of the research include the value of working backwards from this frame for further data elucidation and analysis and presenting research to relevant "expert" audiences.

The shift in teacher education from face-to-face delivery to Distance Education mode means that the current landscape for the preparation of specialist and generalist Arts teachers is both complex and challenging, particularly since there is almost no guiding literature in the field of teacher education that attends specifically to this curriculum area. This paper takes as its case, one regional Australian School of Education that has translated face-to-face delivery into distance education modes in both secondary and primary arts education, through a suite of interactive programs and pedagogical engagements. Some of the approaches include re-designing curriculum, the provision of rich resources and relevant formative assessment, and perhaps most importantly, the establishment of caring, attentive relationships. The construction of communities of inquiry and in the case of the Arts, a community of practice, is essential to the success of these approaches.

This paper describes and analyses, through the use of case studies, two experiences of transformative learning in an undergraduate arts education unit. Pre-service teachers designed and engaged with arts-based curriculum activities, created their own artwork, participated in a modified production of The Tempest and kept a reflective journal. These activities constituted the data which was analysed using creative frameworks such as case writing, script writing, narrative analysis and found poetry as ways of developing richer understanding of pre-service teachers' self-perceptions and self-awareness as teachers and as potential artists. The stories explored here uncover two different ways of encountering the challenges of learning--resistance and struggle--and highlight the significance of the educator's response to individual student needs, and the value of reflective skills in shifting pre-service teachers' cultural, political and institutional understandings.

Traditions associated with the physical studio in design education have obstructed translation to an online model. Literature on design pedagogy reveals the studio is considered essential for design education. This perception can be traced to the "atelier" model in the fine arts, in which students practised under a master. This method also underpinned the early twentieth-century development of design curriculum at the Bauhaus, whose mission was to unite art and industry. This paper examines the essential attributes of the traditional design studio alongside current on-campus experience to better understand studio dynamics. I argue that, while teaching design in an online environment may be complex, it is possible. Barriers to online design education relate to the traditional studio experience, which differs to the contemporary on-campus design studio. Only through in-depth consideration of the current context can an equivalent online learning environment and community of practice occur.

Whilst creativity is perceived as an important twenty-first century skill, current research suggests that educators generally do not have a good understanding on how to teach this type of skill, confusing it at times with creative teaching. This paper seeks to respond to educators' needs in this regard by addressing the meaning of creativity, as well as providing examples on how to develop creativity by using models and strategies that have been found in the research to be effective evidence based frameworks that foster creativity in an inclusive classroom context.