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In this collaborative autoethnography, we, two early career academics used arts-based methods to explore and transform our understanding of scholarly impact. We began by narrating the disorienting dilemma we experienced while preparing our review, tenure, and promotion portfolios. After a brief review of Mezirow's transformative learning theory, we described our failed attempt to engage in collaborative autoethnography and our turn to transformative learning scholarship that prioritizes artistic ways of knowing. We resituated our collaborative autoethnography as an arts-based inquiry and described our collaborative process facilitated by poetic inquiry and narrative métissage. We then discussed how this arts-based collaborative autoethnography project afforded opportunities for us to engage in perspective transformation. Finally, we concluded with the theoretical, methodological, and pedagogical contributions this project makes to transformative learning scholarship.

The purpose of this meta-analytic study is to evaluate the effects of innovative approaches and practices in teaching poetry on academic performance, including reading, writing, and understanding. A total of 574 studies were initially identified using relevant keywords from the Web of Science, Taylor & Francis, Science Direct, Scopus, and ERIC databases. Of these, 35 studies met the inclusion criteria for the meta-analysis. The selected studies employed experimental or quasi-experimental designs with pretest/posttest or posttest control group setups and provided adequate data (n-values, means, standard deviations, or t, F, or X[superscript 2] values) for effect size calculation. The meta-analysis encompassed a comprehensive sample size of 5,208 participants and examined studies published between 2010 and 2024, a period marked by the rise of innovative teaching approaches. The findings, analyzed using a random-effects model, revealed a statistically significant positive effect of these innovative practices on reading, writing, and understanding poetry. Among the moderator variables, only the publication year, teaching method, and targeted skill were identified as significant moderators. The analysis emphasizes the important role of innovative approaches and practices in enhancing academic performance in poetry education.

Artistic Literacies (AL) can be a catalyst to creative, imaginative, and potentially, transformative learning (Blackburn Miller, 2020). Artistic literacy texts include storytelling, creative writing, popular theatre, music, dance, poetry, fiction, or memoir, and visual art. Creative possibilities for diverse adult literacy learners can open when artistic literacies are integrated across the disciplines. This paper will highlight the way that transformative learning theory can enrich our understanding of artistic literacies and adult learning processes. Connections to transcultural literacies, affective (emotional and social) literacies, and environmental literacies within the context of adult literacy education will be explored. Visual art is used to highlight key dimensions of transformative learning and multimodal literacies. In multimodal learning, written-linguistic modes of expression interact with oral, visual, audio, gestural, tactile and spatial patterns of meaning (Kalantzis and Cope, 2012). For example, visual literacies can encourage the exploration, analysis, interpretation, and expression of artistic forms that include painting, sculpture, collage, photography, graffiti art, mobile art installations, protest art, and film. Transformative learning and multimodal learning disrupt singular conceptions of literacy to enable multiple entry points (e.g., aesthetic, narrational, experiential, intrapersonal, etc.) for creative learning and multimodal literacy development.

Research on the life and work of a Swedish immigrant poet in the early 20th century became the basis for an interdisciplinary collaboration that produced songs based on her poems, informances, recordings, and a curriculum. The story is about history, heritage and how we relate to it, a song tradition, the labor movement and women's place in it, and migration then and now.

Educational spaces, both formal and informal, are not always welcoming to queer Métis youth, especially to those youth who connect more to hip-hop cultures than those activities like jigging and beading which are often held up as pillars of Métis culture. This article draws on conversations with youth, conducted as part of doctoral research using a visiting approach to data collection and analyzed using the voice-centered relational method. Through these frameworks, I created guideposts for developing educational spaces which are not just inclusive of but designed for queer Métis youth. These guideposts will be used in future development of research with and for queer Métis youth.

Existing literature predominantly emphasizes policy frameworks and technological solutions, neglecting the transformative potential of creative writing in facilitating purpose-driven learning. In the context of advancing Sustainable Development Goals (SDGs), this study addresses the underexplored role of creative writing as a catalyst for societal change and sustainable development. This research seeks to bridge this gap by employing a qualitative methodology that is grounded on a social constructivist model that subsists on focus group conversations and sharing between students and participants that enable the gathering of rich empirical material in the form of narrative responses. The narrative responses are utilized to inspire creative writing initiatives linked to purpose-driven learning. By analysing the impact of creative narratives, poetry, and storytelling on societal perceptions and behaviours, this study aims to uncover the mechanisms through which creative writing influences attitudes towards sustainability and promotes actionable engagement. The anticipated findings intend to showcase the efficacy of creative writing in fostering empathy, encouraging innovative thinking, and amplifying diverse voices, thus providing valuable insights for policymakers, educators, and practitioners involved in sustainable development endeavours.

The objectives of this study were to investigate (i) The knowledge and wisdom of treatment with a blue spirit medium and (ii) The learning methods for treating patients with the wisdom of MoLam Phee Fa. The study was conducted by analyzing documents and collecting field data by surveys, interviews, observations, and group discussions. The results of the descriptive analysis of the data collected from a group of 40 participants indicated that: (i) Belief in Phee Fa Phaya Thaen is considered to be an ancient religion that exists in southern China along the Mekong River Basin. People who respect it believe that Phaya Thaen will bring prosperity as well as help in times of illness. This knowledge has continuously been passed on by learning the steps in ceremonies to help cure the sick. (ii) MoLam Phee Fa is a group of people who have inherited the knowledge of black magic healing by inviting the Phee Fa spirit into a medium to predict the cause of the illness of those who come for treatment. Those who come to receive the knowledge transfer will strictly adhere to the rules. Disciples must learn the skills while treating patients and memorize the literature used, including memorizing the contents of the poems and melodies and using the principles of psychiatry to empower patients to have the strength to live their lives. In conclusion, MoLam Phee Fa are in possession of a method for curing patients using magical methods that relies on building morale. This wisdom, therefore, deserves to be learned and passed on as an alternative treatment.

In primitive communal society, the cave was not just a place of dwelling but seen as a fortress gifted by Mother Nature and a sacred place for direct communication with higher, mystical forces. The main aim of this study was to examine the evolution and the development of cave studies and how this evolution gave new interpretations of the cave, extending to religion, mythology, culture and artistic creations. Using a historical and explorative research design, this study collected data from archives, religious documentation, published surveys, and artifacts. The study found that there are several religious legends about the sanctity of the cave such as a cave symbolizing a place of worship, peace and protection. The study also found that people visited sacred caves to make special pilgrimages and seek divine blessings and fulfill their wishes. This illustrates the unconscious connection to mythological understanding. As an example, the study explored the mystical nature of caves in poetic consciousness in works of art like Homer's Odyssey and Magzhan Zhumabayev's poem "Okzhetpestin kiyasynda" (At the Cliff of Okzhetpes), two iconic literary pieces in the ancient epic literature. This study also made evident that caves develop feelings of sacredness in human consciousness, as well as its representation in artistic works and oral literature. It is hoped that this study would lead to new interpretations of the cave.

In this article, we chronicle the development and implementation of a multilingual drama workshop for teacher candidates within the framework of a course titled "Supporting English Language Learners," as part of the Master of Teaching Program at the Ontario Institute for Studies in Education. This course takes a decidedly critical approach to language learning, largely challenging the prioritization of dominant colonial languages and encouraging pedagogical strategies embedded in multilingualism and translanguaging. Course instructors also emphasize the importance of identity affirmation through activities, assignments, and modes of communication that celebrate the linguistic, cultural, and individual backgrounds of the students. In 2023, a mandate to address drama curriculum expectations in the Junior/Intermediate (J/I) sections of the course opened an opportunity to explore drama as a pedagogy to enhance multilingualism and celebrate diverse identities in the classroom. A collaboration between four instructors, including one drama specialist, culminated in an initial workshop focusing on identity texts, drama, and multilingualism. Participants created multilingual identity poems and animated them through a series of dramatic exercises led by the specialist. Teacher candidates in all three classes responded positively to the initiative, and several created their own multilingual/drama activities for use in their future classrooms.

This collaboratively authored piece highlights Poetry Inside Out, a poetry translation program that creates new pathways for culturally and linguistically sustaining literacy education. In Poetry Inside Out, students collaborate to translate world-class poems from their original language (e.g., Spanish, Chinese) into English. Informing PIO's design is the view of translation as an interpretive and creative act and a form of close reading. Drawing on their own and each other's linguistic and cultural repertoires and using a carefully scaffolded translation tool, students come to a deeper understanding of how languages and literacies work, paying keen attention to vocabulary, poetic form, syntax, grammar, rhythm, sound, and other nuances of the source and target language. Highlighted are two 5th-grade teachers', Erica Darken and Lisa Yuk Kuen Yau, and their multilingual students' engagement with Poetry Inside Out. Also highlighted are the teacher's use of allied practices such as Accordion Books and dialogic talk.

This article captures lessons learned while coaching a team of writing teachers across a poetry writing unit of study. Because of the heightened pressure of successful implementation of curricular programs, coaching can become focused solely on implementation of resources with fidelity, which can neglect the art of teaching. This article captures coaching techniques used to shift away from conformity and towards transformation in teaching.

A cancer diagnosis enlivens the question of what it means to live well with the Earth and its multidimensional beings, including the children I teach. A cancer diagnosis provides a necessary push to step out from the confines of a self and toward and into the wild fray of this life. I interpret my lived experiences through the practical philosophy of hermeneutics. Hermeneutics has helped me perform and write my lived experience, which I hope will draw in readers and listeners to a recognition of their inescapable ecological interdependence. Cultivating an ability to listen and interpret the world and the human and more-than-human kinships is important to me. Listening to words that children speak helps me learn to be open to the fullness of life, how life is lived, how life can be remembered and suffered and let go. I am gathering sense of being in the world and of understanding the offering that arrives when I nurture a commitment to care for the Earth.

In this article we explore the work of two after-school programs in Toronto, Ontario. Our Youth Success (OYS) is a community-based mentoring program dedicated to lowering the push-out rates of students of Spanish and/or Portuguese-speaking descent. In the Youth Speak Program (YSP), community activists use spoken word poetry and rapping as a vehicle for Black students to express their emotional lives. The data we present come from two separate studies which both used ethnographic approaches, focusing on observation and interviews with participants (Hammersley & Atkinson, 2019). Using Critical Race Theory (CRT), we examine interview data on how the pedagogical relationships developed in these spaces promote the wellbeing of Latinx and Black youth beyond academic outcomes. We argue that these spaces provide insight into the transformative possibilities of critical pedagogies for the wellbeing and healing of communities who have long been marginalized from mainstream institutions.

Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems' contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students' appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

The evolving linguistic landscape in 21st century classrooms necessitates a re-evaluation of pedagogical approaches, exploring the potential of multilingual writing techniques within TESOL settings. This article draws on my self-study as a TESOL educator navigating contexts and shifting from an English-only approach in the classroom to an openness of language(s) approach (Ortega, 2019). Following Hamilton's (2018) case study approach, I investigate the feasibility of implementing a multilingual pedagogy in an international school in Toronto and explore its influence on students, teachers, and the learning process across the domains of (CMLA) (Prasad & Lory, 2020). For this paper, I focus on data that highlight and reflect the impact of multilingual pedagogy on students, teachers, and the teaching/learning process. I performed a qualitative thematic analysis and found that multilingual pedagogies benefited students on many levels. I conclude with a personal reflection on both the affordances and challenges of implementing multilingual pedagogies.

This research aims to: 1) synthesize knowledge regarding environmental management through the cultural introduction to Tha Poetry by the indigenous Pga K'nyau people in Chiang Mai province; 2) develop a manual for the cultural restoration participatory learning process to promote environmental sustainability conservation of ethnic students in Chiang Mai province; and 3) study the satisfaction towards the manual for the cultural restoration participatory learning process to promote environmental sustainability conservation of ethnic students in Chiang Mai province. This research is a Participatory Action Research (PAR) study. The samples used in the research consist of 1) a knowledge-providing group on Tha poetry, comprising 5 local Pga K'nyau scholars; 2) a manual assessment group consisting of 5 Pga K'nyau environmental knowledge experts; and 3) a trial group for the learning process, comprising 30 Pga K'nyau ethnic student teachers. The tools used in the research include 1) unstructured interviews; 2) a manual quality assessment form for Tha poetry of Pga K'nyau to promote environmental conservation; and 3) a satisfaction questionnaire. The qualitative data were analyzed using content analysis, and the quantitative data were analyzed by finding the mean and standard deviation. The research found that: 1) The synthesis of knowledge concerning environmental management through the cultural introduction on Tha Poetry among the indigenous Pga K'nyau people in Chiang Mai province revealed that Tha serves as a poetic introduction reflecting the life and existence of the Pga K'nyau. "Tha" holds significance for everyone, acting as a medium for transmitting knowledge and wisdom. It is a poetic introduction that melds life, experiences, teachings, and memories from the older generation, being recited in every ceremony from weddings, pre-marital counseling, gender role socialization, New Year celebrations, guest receptions, blessings requests, illnesses, to funerals. The content of Tha thus encapsulates the relationships between individuals, between humans and nature, and between humans and supernatural forces. The Pga K'nyau people emphasize environmental conservation, believing that nature has local deities who protect and look after the area. Furthermore, there's a tradition of transmitting knowledge through Tha Poetry for environmental conservation to achieve sustainability. This document has been created to revive the knowledge embedded in the cultural introduction of Tha, a heritage of wisdom passed down through generations, for the training and education of descendants, delving deeply into the conservation of natural resources and the environment. This ensures that individuals studying this will gain understanding from the teachings of the Pga K'nyau community. Currently, the practice of reciting Tha Poetry has been diminished, necessitating adaptation and conservation to preserve Tha in the culture of the Pga K'nyau people. 2) The development of a manual for the cultural restoration participatory learning process on Tha Poetry to promote environmental sustainability conservation of ethnic students in Chiang Mai province revealed that the manual comprises the meaning of Tha, Tha poetry sections for promoting environmental conservation through synthesis, and activity sheets for learning Tha poetry to promote the environmental sustainability conservation. The manual has a highly appropriate learning standard level. 3) The study on satisfaction towards the manual for the cultural restoration participatory learning process on Tha Poetry to promote environmental sustainability conservation of ethnic students in Chiang Mai province found that the majority of the students expressed satisfaction towards the manual, indicating that it is clear and highly beneficial for learning, rating it from high to the highest level.

In this paper, the authors explore the conditions that support belonging in remote VU Block Model® teaching. They examine the role of arts-based, embodied pedagogy in promoting engagement in learning, connection between students, and between students and teachers, and in an environment in which vulnerability and risk-taking in learning is valued. A discussion of belonging in higher education and the practice of embodied learning is followed by the reflections of seven participants. These participants were students in a remotely taught, arts-based higher education block unit, which had been mindfully adapted to retain the embodied nature of delivery during the COVID-19 pandemic. After students' participation in focus group interviews, the lead author constructed found poetry from their comments and reflections. This found poetry forms the dataset through which the questions of belonging are explored. The researchers found that when explored through the lens of the Community of Inquiry Framework, embodied and arts-based practices provided opportunities for students to develop a sense of belonging, deepen understanding of lived experiences, and realise higher education and career goals. This study elevates the voices of students, providing opportunities for higher education teachers to consider the importance of belonging for student success in remote, intensive, and on-campus modes of delivery.

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's well-known poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one ofhis statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art.

In this case study which focuses on secondary school students (5th, 6th, and 7th grades), the goal was to investigate students' preferences in poetry. In this study, the singular research designs have been employed. The context of the study was Trabzon city, and the participants were students in secondary schools in Ortahisar, Akcaabat and Yomra provinces in 2018-2019 academic year. The study was conducted with 490 students. Frequency and percentage calculations were made on the data obtained from opinion surveys and the results were analyzed. The study showed that in all three levels, three themes stood out: War of Independence and Ataturk, National Culture, and Reading Culture. Based on the findings, it was concluded that secondary school students like these three themes more and therefore prefer them more. Students prefer poems with 19-22 lines, both with rhythm and free verse and they prefer mostly rhyming poems. Also, title was found to be an important factor in poem preference and that students love and prefer poems with words they know, and lastly knowing the poet and that they know the poem beforehand also affected their preference positively.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

It is important for instructors to reflect on and develop their teaching practices and pedagogy. Using a poetic inquiry method, this article offers an alternative model for reflecting on academic writing and teaching practices using a found poetry cluster. My example focuses on graduate academic writing instruction. I create found poems from my own written reflections and literature on graduate writing and organize them into a cluster to identify connections and dissonances. I finish with a discussion of my critical analysis of the poetry cluster and how using poetic inquiry as a reflective method helped me to develop both my writing process and teaching pedagogy.

Online and blended learning over the years have brought great challenges and opportunities. At the beginning of this project, we asked: How do educators reflect on teaching online in particular? And how do we articulate our reflections in creative ways? With these questions in mind, the authors took on the challenge of the artistic expression of writing and reading poetry to reflect critically and creatively on our experiences of teaching online in higher education. By drawing connections between theory and our poetry we provide insight into our lessons learned from teaching online. We conclude with encouragement to use creative writing to foster a collective and reflective environment in higher education and for personal awareness and growth. [Articles in this journal were presented at the University of Calgary Conference on Postsecondary Learning and Teaching.]

Background: Poetry predates all other genres of literature, and it has been argued that the relationship between poetry and language is inextricable. The ability of African people to articulate their own stories was largely silenced by colonialism. Poems and lyrics have been known to create a bridge between individuals in meaningful words and songs. Aim: This article explores Grade 3 teachers' experiences of teaching poetry and their utilisation of play pedagogies to enhance learning and make it pleasurable. Setting: Three schools in KwaZulu-Natal, South Africa, were purposively selected because of their rural location. The sample comprised six Grade 3 teachers who worked in these three rural primary schools. The learners in the study were using isiZulu as a language of learning and teaching. Methods: Semi-structured interviews, document analysis and non-participant observations were employed to generate the data. Results: Regardless, Grade 1 teachers know their knowledge of the value of play pedagogies in the development of young children. Conclusion: Researchers suggest that Grade 3 teachers need to align their practice and lesson plans with Curriculum and Assessment Policy Statement (CAPS) proposals and guidelines. Moreover, play pedagogies need to be implemented and these need to be realistically aligned with allocated time frames and available resources to mitigate the severe restraints that impede effective poetry teaching as a tool for facilitating learning. Contribution: To ensure the success of all Grade 3 learners in the realm of poetry understanding and writing, it is imperative that Foundation Phase (FP) teachers align their teaching to the CAPS pedagogies to expose learners to various forms of poetry.

Effective use of one's mother tongue has a positive impact on an individual's life, especially in mother tongue education at the K-12 level. During this period, students progressively learn to use the language more effectively, which is critical for fostering creativity. Therefore, emphasizing creativity in mother tongue education at the K-12 level is a crucial area. The present study aimed to systematically analyze articles that address creativity in mother tongue education at the K-12 level. Data for the study were collected by searching the Web of Science, Scopus, Ebsco, and the Education Resources Information Center (ERIC) databases based on specific criteria. The analysis included 18 articles. The study's findings indicate that the examined studies were conducted using different methods and for different purposes. The methodological quality of the studies was evaluated, and it was determined that the average score for qualitative studies was lower than that of quantitative studies. Multiple data collection tools were used in most of the studies. The examined articles consisted of eight themes: writing skills, speaking skills, teaching methods, art, poetry, interculturalism, technology, and reading skills. The findings related to these themes emphasize the complexity of supporting students' creativity and developing their language skills. The studies lacked significant focus on teaching processes and student-centered approaches, which could provide valuable guidance for future research.

Despite the massive presence and influence of traditional folk poetry (TFP) within Saudi society, the efforts to translate such works remain very limited. While many authors and researchers have examined the impact of this literary genre and illustrated its prominence, academic investigations into the difficulties of translating TFP works are almost nonexistent. This is also true about studies that focus on the overarching sentiment regarding these efforts among those who are associated with the field of language and translation and among members of the general public. This paper thus aims at examining these perspectives and outlining the challenges translation trainees face when performing tasks in this field. The data for this study was collected through the dissemination of a questionnaire and the analysis of a translation task assigned to university students in an academic program for English language and translation. The qualitative and quantitative analysis of the data shows that the level of acceptance of TFP translation efforts is strongly connected to the degree of association with the field of languages and translation, with individuals from outside these circles being less supportive of initiatives in this domain. Additionally, the paper identified several obstacles and challenges encountered by translation students working on TFP texts. The paper concludes with a number of recommendations and suggestions that can, hopefully, contribute to the efforts to raise awareness about translating TFP and to the process of improving the current state of translation within this field.

This article explores the potential and pitfalls of performative pedagogies for teaching literature that thematizes issues of race and racism and argues that racial literacy requires a rethinking of drama-pedagogical practice. An initial segment situates pedagogical discussions of race in North American German curricula within research on racial literacy and then considers the ethical limitations of the usual approaches from drama pedagogy (role-play and identification exercises) when addressing literature about or from minoritized communities. The second half of the article outlines a case study of a performance-oriented teaching unit in a German theater practicum course for German at the B2 level, which combined work on performing and staging poetry with a discussion of the Enlightenment's entanglement with white supremacy and scientific racism. Centering on Black German poet Philipp Khabo Köpsell's poem "The Brainage," the unit raised the question of performative ethics, namely, how and whether the class, consisting of 11 white students and a white instructor, could ethically perform the poem in a live performance at the end of the semester. The article analyzes examples from student learning and the final live performance and makes the argument for performing the process of students' encounter with literary form using theatrical means.

Haiku is the world's shortest form of poetry, describing nature and ordinary everyday life. Previous studies and quotes from professional haiku poets suggest that haiku can foster self-transcendent emotions, such as gratitude and awe. This study compares how those who did and did not create at least one haiku in the past month experience self-transcendent emotions. A total of 192 haiku writers and 177 non-writers responded to scales related to self-transcendent emotions, such as gratitude for serenity, gratitude trait, and trait awe. The results of the Bayesian implementation of Generalized Linear Mixed models revealed that haiku writing increased the frequency of gratitude for serenity and awe, rather than general gratitude. These effects persisted even after controlling for interest in art and educational level, indicating that haiku writing has unique characteristics, including encouragement of attention to nature and a different perspective on daily life. Even in the absence of special events, a change in perspective toward everyday life occurs through creating haiku, and people appreciate and feel awe toward ordinary, everyday things. These novel findings contribute to the study of creativity and emotion.

This article highlights how mentors in spoken word poetry workshops drew on culturally sustaining pedagogy, modeled their own creativity and vulnerability through their poetry, and amplified the voices of youth poets by encouraging them to explore their identities and grapple with inequities in their own lives. Situated in western Sydney, one of the most culturally and linguistically diverse communities within Australia, the article focuses on the Real Talk program, a 6-week school-based spoken word poetry workshop organized by the Bankstown Poetry Slam, the largest slam in the southern hemisphere. It examines the critical role that mentor poets play in supporting young people's storytelling through spoken word poetry.

This study considers the relative benefits for vocabulary learning of exposure to two types of texts--literary or nonliterary--used with two teaching approaches. These approaches were termed "functional and creative", respectively. In the former, learners' attention was drawn to factual information and linguistic features in order to develop their linguistic knowledge. In the latter, the aim was to stimulate learners' personal and emotional response, by drawing their attention to the text's emotional content and how language was used to express meaning. We analyzed data from 160 learners of French in eight schools in England. Learners in four schools studied French poems and those in another four studied French factual texts. Teachers in each text condition employed functional and creative methods of exploitation within a counterbalanced design. We assessed two types of vocabulary knowledge at pre- and posttest: meaning recall of vocabulary contained in the texts, and learners' general vocabulary size. Our results indicated learning gains across both text types. There were, however, important interactions between text type and teaching approach and between text type and the order in which the teaching approaches were used. Finally, we consider the implications of these findings for understanding of vocabulary learning through literature and for classroom practice.

The study reports how an ESOL teacher engaged in translanguaging shifts in a content and language integrated learning classroom in the United States. The study findings, from ethnographic methods and conversation analysis, indicated that the teacher engaged in translanguaging shifts centring on the students' learning needs. She created a co-learning environment in which she and the students co-developed a poem in an English and a bilingual version. In the process of co-creation, not only did the students learn new content, but their identities were valued and affirmed. With her strong translanguaging stance, the teacher let go of control and learnt from the students instead. Based on the findings, I provide recommendations and practical suggestions for teachers, teacher educators, and school leaders. I argue that translanguaging shifts play a crucial role in translanguaging pedagogy. However, teachers cannot work alone in their implementation; it requires different stakeholders to work together--"juntos" to ensure student success.

Using case study methodology, this article analyzes the collaborative writing of three adolescent girls, one Latina and two Black, composing a group poem in an after-school spoken word poetry team. Drawing from literature on distributed cognition and embodiment, we found that participants utilized a system of writing techniques "on the page," as well as a variety of embodied and social practices "off the page" in their team meetings to collaboratively compose this poem. We argue that focusing on the intersection of distributed cognition and embodiment in collaborative writing allows writing researchers to more fully attend to the collaborative sociality of all writing and allows teachers to support youth writers in recognizing and gaining collaborative writing skills for professional and creative writing contexts.

Using multimedia elements to present poetry can help make it more accessible and understandable to a broader audience. In the context of China, where poetry is important in culture and art, interpreting the poems of Chinese poets in contemporary music can help popularize their work among young audiences. The study aimed to explore the possibilities of using various multimedia tools to promote poetry in online educational blogs and to study the effectiveness of various multimedia tools in attracting audience attention to poetry. The survey results reveal the popularity of contemporary songs in China among the youth, who draw inspiration from poetry. "Green Light" ([foreign characters omitted]) received the highest percentage of votes, at 38%. This song centres on the theme of love and expresses the desire to be reunited with a loved one. "Raindrops on Banana Leaves" ([foreign characters omitted]) garnered 26% of the votes and conveys the beauty of nature after rain, emphasizing the appreciation of the world's beauty. "Nebula" ([foreign characters omitted]) was mentioned by 9% of the students, and this song includes lines from the poem "Love in the Sky" by Jiang Zhiqun. It explores themes of love and self-reflection, reflecting the desire to be with a loved one. "Crazy Heartbeats" ([foreign characters omitted]) received 18% of the votes, and the song uses phrases from the poem "Strong Feelings" by Junjian Lu. It portrays intense emotions, highlighting love and passion. "I Am by Your Side" ([foreign characters omitted]), a song containing lines from the eponymous poem by Zhongsan Lu, was chosen by 9% of the students. It revolves around the theme of love and the longing to be with someone special. These findings illustrate how contemporary music in China often intertwines with classical poetry, bridging the gap between traditional literary heritage and modern forms of cultural self-expression. The results of the statistical analysis indicate a statistically significant difference between the control and experimental groups regarding the impact of multimedia technologies on learning outcomes. The experiment has shown that these technologies contribute to better comprehension of the material and the attainment of higher scores compared to students who employed traditional teaching methods. Based on the study, conclusions can be drawn about the prospects of other processes related to this topic, namely the importance of using multimedia technologies to present poetry in online educational blogs, especially for interpreting poems by Chinese poets in modern Chinese music, such technologies will help to attract a wider audience and develop a person's creativity, linguistic culture, and sensual and aesthetic spheres. For further research, it will be essential to study the impact of multimedia technologies on the understanding and appreciation of Chinese poetry by students of different age groups and cultural backgrounds and to conduct a comparative analysis of various methods of interpreting Chinese poetry in multimedia format. The present findings can also be used to develop recommendations and practices for using multimedia technologies in education and cultural activities related to Chinese poetry and methods for applying multimedia technologies as the presentation of poetry in online blogs.

In considering how to bring joy back to education and the curriculum in England, I argue that it is also necessary to bring the joy of teaching back to classroom practitioners. A fundamental contribution to this may be leadership typologies employed by schools' senior leadership. As an experienced secondary English teacher, over the last 20 years I taught at schools in which my experiences of being led -- just prior to, and then under, the education reforms introduced to promote the 'knowledge-rich' approach1 -- were very different. This article reflects on my experiences of contrasting leadership-styles, and of educational leadership on a national scale, through the metaphorical lens of one of the poems I taught for GCSE English literature. My aim is to consider how leadership can be successful, sustainable and inspiring of joy.

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

Social emotional learning (SEL) is an important topic in education and a desired area of professional development for teachers. This conceptual essay offers a creative approach in promoting and discussing SEL through the use of haiku poetry. The tenets from the Collaborative for Academic, Social, and Emotional Learning (CASEL) framework were synthesized into key concepts and presented as haiku poems as a pedagogical exercise to increase awareness on SEL.

In this article, I start with an overview of two major events in 2020--the Coronavirus and the murder of George Floyd to contextualize White women's engagement in anti-racist work. I make meaning of the learning process for other White Women as I reflect and analyze my own learning experiences using autoethnography. I offer an overview of critical whiteness studies and scholarship about White women who engage in antiracist work. I share my autoethnographic narrative account of engaging in anti-racist work. I conclude by highlighting the hopeful possibilities anti-racist work can create for a more just society.

Engaging the methodology of poetic inquiry, this paper explores both the teaching and learning of poetry. Through a combination of interpretation and reflection, the reader embarks on a journey from the author's childhood experiences with poetry to the experiences of her students in an ELA class. Pinar's method of currere provides a lens to explore the ideas of understanding through unlearning. Weaving original, found, and fusion poetry into a conversation with relevant literature, the author hopes to inspire other teachers to approach poetry in their lives and their classrooms with a sense of wonder and curiosity.

According to the Turkish Language Teaching Program prepared by the Ministry of National Education in Turkey, poetry texts should be included in Turkish textbooks taught in primary and secondary schools. Students encounter poetry texts in reading and writing activities in Turkish textbooks. It is thought that determining how students perceive the type of poetry they encounter in Turkish textbooks is important for Turkish education. The aim of this study is to determine the perceptions of secondary school students about the concept of poetry through metaphors. Since the study aims to determine the perceptions of secondary school students towards the concept of "poetry" and the meanings they attribute to these perceptions, phenomenology design, one of the qualitative research designs, was preferred. The study group consisted of 148 secondary school students studying in a public school. In order to determine the metaphorical perceptions of the participants about the concept of "poetry", they completed the sentence, "Poetry is like…because…". The data obtained were analyzed by content analysis method. At this stage, firstly, the invalid ones were eliminated from the data obtained and then these data were coded and divided into eight different categories. Afterwards, the information was presented descriptively in tables. As a result, it was determined that secondary school students' metaphors related to the concept of "poetry" did not change and differentiate according to the grade level, and it was determined that all of the students attributed positive meanings to poetry. In addition, it was observed that the majority of the students tried to explain the concept of "poetry" with concrete metaphors and attributed very different meanings to "poetry" based on reasoned metaphors. In addition, it has been determined that most of the students see poetry as the interpreter of emotions and the source of life.

Decentralized from decision-making processes, women have been placed at the periphery. Their silencing has been fundamental and intentional on the part of patriarchal institutions, for the sake of keeping them behind the discursive scene. To this effect, this paper examines the rebirth of women from prior states whereby they used to be denied the right to sprout the wings towards language within a 'logocentric' society. A deep dive into Helen Cixous's "The Laugh of the Medusa" provides grassroots for allowing a woman to transform silence into articulation. The poetry of Anne Sexton is a case study to witness the drastic change from a crippling fear of speaking into an audacity of a number of speakers in "Lullaby", "Music Swims Back to Me" and "The Exorcists" to acquire language with which every female orator will be equipped to conquer the masculinist world without anxiety.

Starting at the school level, language education develops comprehension and expression skills. It is important to develop literacy skills as it is the basic way of acquiring information. Native language textbooks created with a text-based approach are an integral part of this process. Accurate, qualified, and purposefully selected texts help achieve the objectives of language education, especially comprehension. In Turkey, the Turkish language courses offered in secondary schools to develop comprehension and expression skills aim to develop both the students' native language competencies and their higher-level cognitive skills such as critical thinking, analysis, synthesis, and evaluation along with their language skills. Since its inception in 2019, the Turkish Curriculum limits the selection of texts for textbooks to a framework that represents informative, narrative, and poetic structures. Due to the scarcity of studies on poetry and its teaching process, this study aims to determine the general view of the teaching process of poems in secondary school Turkish textbooks. Additionally, the study examines all the textbooks to be used in secondary schools in Turkey in the 2022-2023 academic year. The research model is a basic qualitative research design, and data were collected through document analysis. The analysis concluded that course books attempted to make students understand the poems in middle school Turkish textbooks, especially with open-ended questions in the process of comprehension education, and were limited to investigating the meanings of unknown words, explaining the content, determining the subject and main emotion, and trying to recognize some figures of speech.

Drawing from six-months of action research with spectacle theatre-makers in Chicago, this study explores multimodal, expeditionary practice of teaching artists who apprenticed girls through Redmoon Theatre's Dramagirls program. Concepts of new literacy design and aesthetic experience illustrate teaching in socio-semiotic and material worldcraft, set in motion via intermedial, expeditionary platforms: Imaging, Games, and Dramatizing with Objects. Ethnographic, arts-based analysis of discourse scenarios reveal an emerging aesthetic playground, where teaching artists afford girls imaginative schema to construct socio-semiotic material, felt realities and cultural affinities for a girls' utopia. As this hybrid form of theatre is seldom explored as an aesthetic literacy context, Dramagirls' worldcraft offers pedagogical models for significant youth designs and inquiries.

This article delineates my place attachment and sense of home in my Epsom campus, University of Auckland, in Aotearoa New Zealand, where I studied for my PhD in two periods of time: during the first year of my PhD programme, when my sense of home was established; and when I returned to Vietnam for my six-month research trip and was stranded due to the COVID-19 pandemic, leading to my sense of home in my campus being weakened and disrupted. Using poetic autoethnography as the methodology, I recount my personal experiences of how I grew attached to my university campus as a physical place, and social spaces of cultural diversity, friendship, and academic and PhD student identity development. The article offers an analysis of my unique emotional experience of being on and off campus involuntarily, which is hardly found in extant literature on international student mobility and students' lived experiences.

In this article the authors, a Mathematics education professor and two English education professors, describe how we used poetic inquiry in peer-led professional development workshops for field supervisors who observe and evaluate teacher candidates. Poetic inquiry was taken up to better understand our shared experiences of mentoring teacher candidates and to deepen our thinking about our own pedagogical practices. The experience of writing and sharing these poems in our monthly workshops highlighted commonalities in our values and approaches to mentoring teacher candidates and allowed us to reflect on our own identities and how they influence our practices.

In this article, we illustrate the experience of three literacy educators who harnessed online, collaborative platforms to cultivate community within their classrooms and with their colleagues. Through the use of creative practices including digital poetry, selfie collage, and curriculum sharing through video conferencing, the authors invited their students and professional peers to reflect on their perspectives and experiences related to social issues through the use of multimodal and media resources for composing. This article includes examples of creations from this context, including mentor text work, as well as implications for creativity and collaboration with students and colleagues.

Content and Language Integrated Learning (CLIL) is a relatively novel approach to L2 learning. Designed under this approach, this paper proposes a set of three activities that seek to foster secondary level students' critical thinking, creativity, and intrapersonal skills. English language learning is integrated with the specific subjects of Literature, by analyzing and creating poetry, and History, discussing poems by Marcelo Gelman, Osvaldo Balbi, and Joaquín Enrique Areta, who were victims of the final Argentina's military dictatorship (1976-1983).

This research paper aimed to study the transformation of Being in Mahmoud Darwish's last poem "The Dice Player" through a Heideggerian framework analysis. It took Heidegger's famous quote "The poets are in the vanguard of a changed conception of Being" as a point of departure in investigating and unveiling the assumed transformation in the Darwishian Being in the poem. By employing a descriptive-interpretative qualitative research method, the paper argued that "The Dice Player" depicted Darwish's implicit and explicit changed conception of his own Being which Heidegger called 'minemess' particularly in relation to his amour propre, his perception of Death and the 'Other'. The findings reveal that the Darwishian changed conception of Being, which was driven by his anxiety and submission to death, gave rise to a new Darwishian Being. The new Darwishian Being developed a different perception of himself ("amour propre"), death and others in "The Dice Player" when compared to his previous poems. Therefore, the paper concluded that Darwish seemingly joined "the vanguard of a changed conception of Being" by showing a transformation in his Being at three different levels.