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The author introduces Hong Kong-based paper-tearing artist Sing Man Lee. Lee's paper-tearing art offers a lens for learning about traditional Chinese cultures as well as contemporary life in China. This instructional resource can serve as part of a multicultural art education curriculum, enriching students' art experiences by connecting their lives to various global cultures and societies. Through engagement in a multicultural art curriculum, teachers and students can work to decrease cultural stereotypes and myths about unfamiliar cultures.

This instructional resource introduces a framework for authentic multicultural pedagogy through the lens of specific Asian artists, art processes, and connections to student experience. Resources discussed are all a part of a larger unit of study titled "Trash to Treasure," where students focused on various Asian artists, Tan Zi Xi and Yodogawa Technique, who highlight garbage and pollution as a social issue, sometimes using garbage as their art materials of choice. Big ideas and conceptual themes include consumption, upcycling, and transformation. This resource includes: (1) information and artwork from Singapore-born artist Tan Zi Xi; (2) information and artwork from Japanese artist Hideaki Shibata; (3) an introduction to Yodogawa Technique; (4) a brief history of the Chinese papermaking process to provide historical context; (5) inclusion of relevance to student experience in multicultural art units; (6) discussion questions that are aligned with the National Visual Arts Standards; and (7) web-based resources for further exploration.

Feminist Imaginaries are psychological and social spaces where creative possibilities are overflowing. They facilitate new ways of being, new ways of knowing and new ways of knowledge creation. This paper embraces a decolonial and feminist approach to storytelling, remembering, reclaiming and retelling; telling the stories of a band of wandering women, journeying to the psychosocial spaces of the Imaginary. Drawing upon a feminist theoretical tapestry, creative writing methods and autoethnographic approaches, the story is an example of the possibilities for Feminist Imaginaries in academic research. Many female students I have encountered naively believe they have social justice and equality but the inequalities are hidden in low paid, part-time work and unpaid care. To explore patriarchy's deceptive nature, reference is made to the canons of Western art and literature as spaces from which to depart. It is from this space and time of departure that our journeys to the Imaginaries begin. Our lived experiences as artists as educators makes our activism all the more urgent to care for racialised, working class and disabled students. Those experiences are illustrated in poetry and visually in an artwork created to accompany this paper entitled, "Remember, shout her name, tell her-story." Furthermore, creative writing is a form of the Imaginary and is used to tell this tale. I suggest, by borrowing from Laurel Richardson, creative writing is a method of inquiry to learn about ourselves and our research. By writing into the topic, rather than reading around and then writing, the imagination can wander and wonder freely. I include a small demonstration of how this process might be performed. In this way the story is open-ended, to be continued, as so too the fight for social and gender justice must continue. Accordingly, I invite you, the reader, to remember your stories, reclaim, imagine them, document and share them.

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.

This paper explored the relationship between graffiti arts and civic education among young people in Nigeria. A mixed methods approach was employed to generate and synthesize empirical data. The study was guided by Barbara Rogoff's social constructivism theory. Findings indicated that graffiti arts and artists were present in Nigeria, driven by desires for self-expression, financial gain, and training opportunities sponsored by NGOs for up-and-coming artists. Writing styles varied, but drawing, mural painting, and styles uniquely African remained dominant. Despite the difficulty of acceptance of graffiti as an art form due to its earlier association with transgressive activities, its engagement as a method for emancipatory, participatory, cultural literacy, dialectical relations, and creative learning tools in both formal and informal settings demonstrated its educational-supportive capacity for young adults. The values that graffiti express can help reorient young adults in their thinking and social agency. To this end, this paper recommends rethinking the way we view and relate to graffiti arts and writers; incorporating graffiti art education into school curriculum reforms in Nigeria; and using an interactive approach, including new media, to understanding graffiti art produced and displayed by young adults.

The article discusses the use of computer vision in analyzing the material nature of art. Topics mentioned include the importance of understanding how artworks are made and the inspirations of artists, the examination of surface textures of photographic prints, and the photomechanical reproduction of images.

The purpose of this paper is to better understand how emerging artists use information to navigate the transition out of university, using their changing ideas of failure, success, information literacy (IL), and transition to frame the qualitative data. A literature review is used to frame the current understanding of emerging artists and feed into the creation of the interview questions. Four emerging artists participated to elicit qualitative accounts. Descriptive and process coding was used to analyse the interviews to form the findings. The findings present how emerging artists use information to shape their criteria for success and failure during the transitional period after leaving art school education. Three core information practices -- sharing, feeding, and balancing -- were observed within the interviews. With this framing insights into the emerging artists' past (learning from historic failings) and the future (envisioning future success) begin to be formed. Furthermore, this paper contributes to the knowledge of emerging artists' information practices, including the impact of their digital media usage and self-referencing as IL. The study uses the work of other IL scholars with the information practices of emerging artists and frames them through three key ideas: IL, transition, and success and failure. This intersection of study has not been explored previously. The results will provide direction for information professionals serving emerging artists, and for art educators preparing their students for their careers outside of university. It also deepens the understanding of the field of transition and information practices of new practitioners across fields.

This article discusses the artwork of Azadeh Akhlaghi, a visual artist from Iran. Akhlaghi's series, titled "By an Eye-Witness," explores the documentation of past deaths in Iran's history, focusing on violent and traumatic events. The artist stages scenes depicting the deaths of poets, journalists, students, intellectuals, and political activists, imagining how these events would have been captured if mobile phone cameras had existed at the time. Akhlaghi's work challenges the official version of national history and invites viewers to consider the impact of photography on our understanding of historical events. [Extracted from the article]

This paper explores the British art patronage scheme "Pictures for Schools," which sold affordable works of art to educational buyers at annual exhibitions between 1947 and 1969, focusing on the work of "Pictures for Schools" founder and organiser Nan Youngman (1906-1995) as an artist, educationalist and activist. It shows that, while social and cultural changes in post-war Britain around the development of the welfare state provided a receptive environment for "Pictures for Schools," it was largely driven by Youngman's personal convictions and experiences. This paper traces the ideological motivations behind "Pictures for Schools" to the interwar period, exploring Youngman's involvement in two progressive organisations, the Artists' International Association (AIA) and the Society for Education through Art (SEA), which enabled her to campaign for progressive art and education. In doing so, it positions "Pictures for Schools" as a socially engaged intervention into the post-war education system in England and society.

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.

This paper investigates the preparation of Australian undergraduate university arts students for a life challenging arts-teaching and creative experience in Timor-Leste. It explores university teaching practice and how we may achieve better student experiences in preparation for their futures as teaching artists. This narrative inquiry research hears the voices of the students through their individual, personal stories. The emerging teaching artists articulate challenges, identify shifts in beliefs and values, and confirm skills that are transferable to cultural arts teaching contexts in the future. In all, the research has resulted in 46 recommendations, some minor, and some requiring more significant structural changes that affect course delivery. For the purposes of this paper, we reflect on and discuss three of the major findings and recommendations in the pedagogical, cultural, and artistic areas of the project implementation. As such, this paper represents a reflective analysis of some of the findings regarding curriculum design within this project.

This article presents a study on the development of art environments for young talented artists across 4 municipalities in the western part of Jutland, Denmark. Within this context and based on systems thinking, neosystems thinking and a holistic ecological approach to talent development, the researchers identify and describe three transcontextual art talent environments (Off-Track, Film, Show-up). Based on the neo-systemic concepts of symmathesy (Together-learning), the pivotal point in this study, was to identify organizational markers in the development of a strong talent infrastructure across the municipalities. This to enable and cultivate the artistic potential of young people. The research question of the study was: "Which organizational markers cultivate the development of art talent environments in the context of four Danish municipalities in the western part of Jutland?" The study is based on interviews with seven different public servants from different municipalities in the western part of Jutland and build on a prior research regarding young artists within different artistic fields and their instructors. Through a generic thematic analysis, four organizational markers were identified (organizing, strategizing, license to operate, and creative places). The paper argues that an orientation towards environments as a symmathesy and towards organizational markers can help organizations improve artistic talent environments across municipalities. Further, the role of public servants as talent stewards is discussed in the discussion.

Art and movement are motivating forces in, through, and beyond education. As populations age, there is an increasing need to support physical and social well-being. Yet, since the onset of the COVID-19 pandemic, there has been a reported exponential increase in feelings of loneliness across generations. Complex challenges require trans-disciplinary solutions, and this paper represents a joint effort within and across disciplines, communities and cultures to find ways to ameliorate this silent epidemic. In this paper, we propose a cross-disciplinary conceptual framework where Aboriginal Artists and Knowledge Holders, Teacher Educators, and Physical and Occupational Therapists come together to explore theoretical and pedagogical insights that encompass intergenerational art-moving-well-being practices, reducing feelings of loneliness and improving social connections across generations. There are two main aims of this paper; first, to better understand current studies that report on integrating art-moving-well-being practices, and the effect this has on health and well-being of intergenerational participants (under 10-year-olds, 20+ year olds and 50+ year olds). Second, based on community needs, the long-term aim is to propose a flexible art-moving-well-being conceptual model that is scalable, sustainable and based on social and relational support systems. We propose a model that is flexible and adaptable within and across our local community and beyond. We argue that feelings of loneliness are unique to each individual, and there is a need to connect specific intergenerational programmes with art-moving-well-being practices that readily engage and integrate varied communities and cultures in sustainable ways and thus, contribute to thriving communities.

This paper explores the enterprises artist-teachers in adult community learning (ACL) engage with and how these form their identity. This is significant to consider as artist-teachers in ACL are overlooked in the published literature. ACL is comprised of community-based learning delivered by local authorities and general further education colleges. Thornton defines the artist-teacher as an individual dedicated to both art and teaching. This is visualised in his Artist Teacher Model. However, Thornton ignores other enterprises that an artist-teacher could be involved in. This paper then considers Daichendt's use of Wallace and Gruber's networks of enterprises. Using the earliest recorded artist-educator, George Wallis, as a case study, Daichendt highlights how one is often engaged in several enterprises and uses the network of enterprises to visualise this. Participant interviews and focus groups test if this is more appropriate for the artist-teacher in ACL than Thornton's model. The impact of this research on practice is an improved understanding of the multifaceted identities of artist-teachers. The paper helps to produce new knowledge around the identity and introduces newly developed visual tools for tracking this, including the Tetrad Identity Model, and the ATLS. These tools may also be used for other professionals with multifaceted identities.

Money has been the dominant way to understand the motivation for artists to teach. Written from an adult community learning (ACL) perspective, this research is part of a wider study interrogating artist-teacher identity transformation. This paper explores the motivations for becoming an artist-teacher in ACL, questioning the assumption that artists teach for financial security. ACL is comprised of 'community based and outreach learning opportunities, primarily managed and delivered by local authorities and general further education colleges'. ACL is plighted by casual contracts and precarious working hours, suggesting that financial security may not be the main motivator for working in this sector. The research employs autoethnography, to construct a layered account of what motivates individuals to become artist-teachers in ACL (206). Within the autoethnographic approach narrative is used to help understand these motivations (727). The paper helps to produce new knowledge about the motivations of the artist-teacher in ACL. This could have wider implications on the sector, which has generally been devalued and overlooked, including influences on the recruitment and retention of tutors.

In this paper, we use the lens of embodied language cognition and intersemiosis to argue for the importance of developing creative approaches to language work in classroom settings and we cite as an example some activities from a workshop that was developed for modern foreign languages (MFL) trainee teachers in London (https://www.youtube.com/watch?v=M9hR-LQ0xOE). The workshop resulted from a collaboration between an applied linguist (Coffey) and an artist-educator (Patel), and combined their shared understanding of language use as an emotional, embodied enterprise etched into our autobiographical identities. We suggest that working with intersemiotic approaches to language has the potential to reinvigorate language pedagogy by challenging dominant metaphors both of 'language' and of 'learning'. The paper intends both to make a practical contribution in its reporting of activities, which we hope will inspire teachers and teacher educators to develop intersemiotic approaches for their own settings, and also to contribute to the broader scholarship that calls for 'reframing teacher cognition' (e.g. Coffey [2015]. Reframing teachers' language knowledge through metaphor analysis of language portraits. "The Modern Language Journal" 99, no. 3: 500-14), even 'liberating language education' (e.g. Lytra et al. [2022]. "Liberating Language Education." Bristol: Multilingual Matters), to imagine new orientations for how we engage with languages in our lives and our classrooms.

This paper reports on a project designed to promote the understanding of the World Heritage site of Old Rauma, Finland, with the help of craft activities. Through fieldwork and an analysis of the data collected from two craft interventions, the paper examines how craft making can serve as a medium to celebrate a sense of place and inspire people to deliberate the role that heritage occupies in their everyday lives. Based on the study, it can be concluded that attention needs to be placed on the teaching and learning of creative practices in order to contribute to the makers' perceptions of placeness and to sustain local development as well as to promote heritage in a historical town.

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