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By using the feminist imaginary as a pedagogical tool for resistance and change, an experience of activism within the university context in Naples, Italy is explored. The article focuses on the potential transformative power of art as catalysis for deeper level emotional and spiritual learning transformation. The aim is trying to inspire critical conversations to rethink spaces and practices that allow community care, and conditions that include authenticity, resonance, reflection, and freedom. Engaging in the arts, aesthetics, and creative practices can contribute to a sense of hope, agency, and possibility with the potential to provide avenues for creative expression and innovation. Sharing narratives of possibility and engagement with the arts can promote community connections. This article highlights the way artistic practices contributed to the creation of a dynamic and inclusive creative landscape that challenges established norms while encouraging creative and critical thinking.

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.

In recent years, discourses about youth have been mired in narratives of learning loss and mental health crises. These cultural stories often pathologize youth, offering little in the way of generative pathways for educator practice to aid young people as they navigate the very real challenges in contemporary society. The experiences and reflections shared by a young man, Alberto, about the work he did with his peers and teacher demonstrates the power of community engagement, collaborative art, and responsive teaching to reframe the "problems" of education, offering new pathways to "do wellbeing" in learning spaces.

This article confronts tensions of "risk" and "change" in youth engagement and community arts, towards insights for alternate world-building. We problematize overly instrumental approaches, by examining aesthetic and inductive theories of change arising from "Making With Place," a research creation initiative based in Toronto, Canada. From Spring 2020 to Fall 2022, we engaged diverse young people as artist-researchers in community arts production experiments exploring concepts of place from individual and collective perspectives. We draw here on resulting public artworks, discussions with the artists, and our own field notes to surface the theories of change arising from this work. We identify three emergent metaphors--the garden, the bridge, the margins--and the ways in which they resist dominant discourses in favor of new practices of imagination and repair. We explore how these creative explorations articulate theories of change that refuse forgetting and call forth desire.

This work, framed within a mental health prevention project aimed at early childhood education teacher students, aims to evaluate the suitability of the action to promote, in the educational field, the personal identification of traumatic experiences, incorporating them as vital learning. To this end, a performative action aimed at representing suffering and the capacity to overcome it was created, in which 71 early childhood education teacher students and 3 teachers participated, and which was implemented in Coruña (Spain), in 2022, in the postCOVID stage. In order to achieve the object of study, a research project was designed using public enquiry, documentary observation and participant observation to determine the suitability of the performance to the project's objectives. The results show how, through the representation of trauma, people have experienced that in the difficulties of life there is also learning, improving self-esteem and self-concept.

The study's objectives were to present a way for transmission Yi folk songs into educational institutions in Liangshan and Chuxiong prefectures, China. This study is qualitative. Interviewing inheritors of Yi folk songs, for instance, as well as consulting relevant literature and materials. The field investigation method was used for data collection and research, and informants included: 8 inheritors of Yi folk songs in the two places; 6 vocal actors who are professionally engaged in singing Yi folk songs in the two places; 4 leaders of primary and secondary schools and local universities in the two places; 4 music teachers from primary schools and local colleges; and 8 students from primary and secondary schools and local colleges in the two places. According to the results of this study, Yi folk songs should be taught in elementary and secondary schools to improve art and promote national pride. Mixing Yi folk songs into teaching activities, using the new experiential method of teaching, and organizing practical activities outside of school are all effective ways to spread the culture and bring folk songs back to life. Folk song art festivals on college campuses, the formation of professional art groups, and the spread of Yi folk songs in local universities are all excellent ideas that should be encouraged. Teachers should hire Yi folk song inheritors to perform and sing for them, and more teachers should be trained to be good inheritors.

Creative drama encompasses two primary learning objectives: the internalization of democratic values and the cultivation of advanced communication skills. To foster these attributes in individuals through creative drama education, it is imperative that the educators themselves possess these skills. This research pursues a dual objective: firstly, it delves into the communication skills and democratic attitudes of creative drama educators, considering various influencing factors. Subsequently, it explores the correlation between communication skills and democratic attitudes. The study included 143 creative drama educators from 18 cities in Turkey. Various statistical analyses, including independent samples t-tests, Analysis of Variance (ANOVA), and Pearson Product Moment Correlation Analysis, were employed. The findings reveal that the gender and years of experience of drama educators are not significantly linked to their democratic attitudes or communication skills. However, the faculty that they are graduated from significantly impacts both their communication skills and democratic attitudes. Finally, the Pearson Product Moment Correlation Analysis demonstrates a significant and positive relationship between the communication skills and democratic attitudes of creative drama educators.

This paper examines the interplay of creativity, education, and the expressive arts. We begin by presenting a narrative literature review focusing on the use of artistic tools to promote creativity, self-expressiveness, and meaningful aspects of emotional and social learning. This review reveals strong connections between the different components of this interplay, and a special attention is given to the use of arts to promoting creativity and meaningful learning. We then propose the Empowering Creative Education Model (ECEM), which aims to provide a practical framework for employing artistic tools in each of the model's four developmental circles: I, Us, Educational and Community. Each of the four circles includes unique aspects of personal development.

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

This paper examines the Confucian concept of learning, or xue ([character omitted]), from the perspective of ecological humanism. Through a comparative interpretation, this paper attempts to disclose the significance of Confucian xue conceived as a practice of aesthetic appreciation and creativity, emphasizing in particular its function within an eco-centric worldview. The author reviews the relevant concepts of ecological humanism as expressed in the ideas of John Dewey and Thomas Alexander, then applies these as a theoretical framework for interpreting xue and its related concepts and practices as they appear in the Confucian text the Lunyu ([characters omitted] ). It is argued that xue is a process of developing and expressing virtuosity and artistry in the "arts of life," and that its practice was understood as a direct participation in the creative development of nature. The significance of such a concept of learning for contemporary educational philosophy is discussed in conclusion.

National brands of the Kazakh people are insufficiently researched based on the special criteria for defining the concept of a brand from a scientific perspective. This article is relevant in this context. Interest in branding and its formation is a topic staying relevant. It is a driving force behind globalization and international competition. The brand is recognized as attracting tourists and investors, strengthening business, forming the country's image, and achieving international supremacy. The study of the national brand in the field of education is also critical. In particular, it is necessary to identify national brands through associative studies for economics and tourism students. The article analyzed the concepts recognized as national brands of the Kazakh people. The frequency index of the words recognized as Kazakh national brands was determined. According to the word stimulus, "Kazakhstan," "homeland," "peaceful, independent country," and "What is the Kazakhstani brand?" "National cuisine" and "art forms" were the most answered. The experience of identifying the association has shown that using national characteristics, art, national food, and national clothes in everyday life as a national brand is not accidental. The mental characteristics and culture of the Kazakh people in the formation of a brand were determined during the research. They were introduced in the domestic and world markets, stabilized in the minds of consumers, and explained in the education system, marketing, and tourism. This situation would impact their use in the field.

This article poses the question 'How do we look at animals?', suggesting a link to inherent problems of documentary film-making. However, the question further suggests that there may be ways of relating to animals other than 'looking at'; other than 'observing'. Drawing from the research project De-Doc-Donkeywork: Decolonising Documentary Art Practices and the Global Crisis for Donkeys, the article offers a reflection upon how specific art-practice-led research is brought into education. The interrelatedness of art practice, research, theory and pedagogy allows for connections to be identified between the decaying borders of disciplines, documental knowledges, and possibilities of decolonising our relation to animals. At the core is a problem of 'coloniality' related to film education: the domination of documentary concerns and valances through film discourse. The "documental" is identified as an epistemic practice that can reorganise extra-disciplinary resources into collaborating collectives in research and education, allowing for new ways of knowing 'donkey'.

Research-creation practices have long consulted the public in the process of research, yet the act of making often rests in the hands of the individual researcher. This paper proposes a more integrated and collaborative framework for arts-based researchers and educators called Community-Based Research-Creation, which extends the collaborative logic of oral history into the realm of creation by encouraging art educators to develop focused and prolonged workshops and classes with community. I draw from my own practice as a community art teacher working primarily with adults and propose methods and frameworks for developing community-engaged studies using artworks.

This paper reveals the journey of two settler-researcher-educators supporting learning in preparation for Carey Newman's Witness Blanket Art Exhibit. Invited to create curriculum for students and educators of K-12 who would visit the exhibit, the authors describe co-curricular making as a living, re-generative, re-cursive experience. The learning alongside diverse perspectives of educators and community partners in circle--including Syilx Okanagan, School District, Art Gallery, Museum, and University-led to reconsidered understandings of co-curricular making. Relational commitments that invite co-curricular engagement with the Witness Blanket foreground Syilx Knowledge toward resisting colonial ways, and supporting tmix[superscript w], the life forces of Syilx Okanagan Territory.

MoLam is a cultural performance art in northeast Thailand. MoLam is a profession that requires the high art of singing and relies on literary aesthetics and elaborate melodies to attract listeners. The objectives of this study were to: 1) research and collect information about Isan MoLam's performing arts, 2) explore the current conditions and problems affecting MoLam's performing arts literacy inheritance, and 3) investigate the process of transmission literacy to inherit MoLam's performing arts literacy. Descriptive analysis was used to examine and data from documents and fieldwork. The results of this study are as follows: (1) According to MoLam research, when the colonial country invaded this region, the Thai-Lao ethnic culture in northeastern Thailand and Lao PDR was split. On the Thai side, individuals flocked to the center area to meet with Siam. MoLam in the Northeast has steadily developed since then, and it may be classified into four types: (i) non-dramatic MoLam, (ii) dramatic MoLam, (iii) ritual MoLam, and (iv) miscellaneous MoLam. (2) As Thai society enters the internet era, there are numerous popular entertainment mediums, leading people's morals to shift and lowering people's interest in viewing MoLam performances and roles. The goal is to find a way to pass down this performance art to future generations. (3) Literacy transmission: After synthesizing the material to be taught, the students are separated into two groups: (i) MoLam singing has been practiced by a group of elementary and high school students; (ii) MoLam singing, and music have been practiced by a group of students at higher education institutions. Under the established parameters, both groups have extra talents. In conclusion, this study may be utilized as a model for conveying local wisdom information.

The Guqin is a string instrument that has been played in China for over 3,000 years. It is famous for its meditative, soothing sound and is frequently associated with Confucianism, Taoism, and Chinese literati culture. The instrument has seven strings that can be plucked with a plectrum or with the fingers. The Guqin's sound is said to resemble a gentle breeze blowing through the trees, and it is frequently used in Chinese music to evoke feelings of tranquility and introspection. This study was conducted by statistically analyzing field research data and making recommendations for their educational status. In this study, samples of local Guqin musical instruments were selected, and a field study was carried out for the three local Guqin musical instrument groups, the Guangling sect, the Jiuyi sect, and the Yushan sect. The questionnaire was administered to 180 participants and included a literature analysis. The results of this study show that the province of Guizhou is home to a diverse collection of peoples, and the art of the Guqin is being modernized and incorporated to produce a form of art that the general populace appreciates. It is possible to make innovations and explore ways to form an ensemble using Guqin, Guzheng, Dizi, and other ethnic instruments, hold various Guqin concerts and art festivals, and engage in cultural and artistic exchanges. Guqin music will be celebrated at an increasing number of festivals in the future.

As in any professional field, aspiring video game artists, designers, and developers must acquire the necessary skills and knowledge for a successful career. Higher education institutions offer varying video game Bachelor's degree programs to meet the diverse needs of the industry. Our objective in this study was to explore these curricula to gain insight into and understanding of the contemporary video game higher education landscape. We explored 113 Bachelor's degree curricula in Europe that had publicly available information in English about their courses. We classified the courses within each curriculum using ten devised classifiers based on the IGDA Curriculum Framework 2008 but modified them to suit our interests. The content of the classified curricula was then used to create curriculum profiles -- data vectors that characterize a curriculum based on its contents. These profiles allowed for hierarchical clustering and principal component analysis (PCA) to identify and investigate the three common types of video game curricula: video game art, interdisciplinary video game design, and video game technology/programming. Our results indicate that art and programming curricula are highly specialized, with clear distinctions in yielding Bachelor of Arts and Bachelor of Science degrees. Curricula focused on interdisciplinary video game design do not have such clear distinctions in the degree titles and content specialization. They are more varied in their profiles and tend to bridge the gap between art and programming curricula, reflecting the interdisciplinary nature of game design as a profession. Compared to results from previous studies, we found that contemporary curricula place a greater emphasis on graduation projects, internships, and soft skills. Our findings provide an overview of the current state of higher education in video games, which may prove helpful for those working with or interested in these curricula.

Playing video games is one of the most popular leisure activities across the world. Video game music (VGM) is a musical art form prevalent in popular culture, and there is potential to use it for the music education of students. Using informal music learning (Green, 2002) and online participatory culture (Jenkins, 1992/2013) theories as grounds for inquiry, this multicase study explored how musicians used the music of "Undertale"--a popular 2015 independent video game created by Toby Fox--to inspire music making by publishing YouTube videos. Twelve case studies were conducted using methods outlined by Robert E. Stake (1995; 2006), each centered around a YouTube channel managed by creators who published "Undertale" music video covers. Data were analyzed around three themes: learning how to create for YouTube, creating covers of "Undertale" for publication, and interacting with others within the VGM community. By exploring the processes of VGM cover artists who published on YouTube, music educators may be able to better guide students to develop skills for publishing content on the internet and connecting with others in meaningful ways online.

Human anatomy and physiology?is?considered one of the most difficult courses a student can take in a pre-health professional major in the US (Slominski, et. al., 2017). Research has revealed benefits of the use of art and anatomy within medical education, including improved clinical observational skills, greater understanding of disease and patient perspectives, and greater ability to empathize (Bell & Evans, 2014). Bell and Evans (2014) argue that observational skills are often overlooked in medical education. Use of art assignments in a graduate anatomy and physiology course will be discussed with reference to design and learning outcomes.?The purpose of this study?was to?evaluate?the relationship between art and medical education for audiology students. This study aimed to incorporate STEAM education (art assignments, the teaching effect, and community outreach) into audiology curriculum. Auburn University's Au.D. class of 2022 participated in this study, consisting of 10 students. The Student Assessment of Learning Gains (SALG) questionnaire was conducted and provided qualitative and quantitative evidence supporting the integration of art in the Doctor of Audiology curriculum. BASE (pre) and SALG (post) outcomes assessed that the use of STEAM assignments can help improve the retention of the anatomy and physiology within of the auditory system. Cross-tabulations of pre and post course responses show a positive increase in student understanding of course material. A positive perception that art assignments enhanced student confidence and clinical observation skills related to the course was observed. Many students felt they had a great gain in understanding covered topics. The effects of utilizing the teaching effect and community outreach were also positively seen by student participants. Students' opinions following coursework and cross-tabulations support a place for art in health education and healthcare.

This article evaluates Make it Happen Summer School according to Bernstein's writing on classification, framing, and recontextualisation. The project was a collaboration between a university and an Arts Council England National Portfolio Organisation (NPO) that aimed to develop a curriculum for creative practitioners so they could learn to propose successful socially-engaged arts projects for funding and commissions. NPOs are arts organisations that are funded by the UK Government and the UK's National Lottery via the Arts Council England. This article draws upon quantitative and qualitative data collected in relation to this project to evaluate the curriculum and pedagogy. In order to do this, models developed from Bernstein's work guide the analysis of the findings. It was found that while many gained powerful knowledge from the project, some did not. The processes of recontextualisation demonstrated how ideologies based on accountability and performativity shaped the curriculum reflecting the depoliticisation of socially-engaged practice.

The internationalization of higher education has changed over time due to government programs and incentives. In response to these demands, universities have sought to develop internationalization actions that encompass the entire university community. This article aims to analyze the internationalization strategies contained in the plans and policies of Brazilian higher education institutions (HEIs) that participate in the Institutional Internationalization Program -- CAPES PrInt Program. It is a qualitative study, conducted from documentary research, and data processing was carried out based on content analysis. Data analysis showed five priority areas: Teaching; Language Policies; Research; Outreach, Culture and Art and Management. Among internationalization strategies developed by HEIs in Brazil, no predominant internationalization model exists, but the coexistence between the different forms of internationalization characterizes the search for an identity that reflects the features of Brazilian higher education. The results reveal the direction that Brazilian HEIs are taking toward the institutionalization of internationalization and its contribution to the consolidation of the field of internationalization of higher education.

Teacher educators face many challenges related to workload and government-mandated reforms in Initial Teacher Education programs. Evidence suggests that COVID-19 has exacerbated these challenges as universities must become more costeffective and improve research outcomes and impact, often resulting in heavier workloads. While these challenges may be faced in other disciplines, teacher educator wellbeing, stress and burnout is an under-researched field, and little is known about if and how teacher educators maintain their wellbeing during times of uncertainty. This collaborative autoethnographic study applied an arts-based research method to explore the wellbeing challenges faced by four Australian teacher educators through the lens of the PERMA wellbeing framework. Data was collected through conversations, written reflections and field texts. While tensions often emerged, opportunities for success and positive changes also became known. The importance of agency and self-determination of teacher educator wellbeing became an important foundation for continuation in teacher education.

The art review is a genre that describes the artwork under discussion, educates its readers, as well as interprets and evaluates the work. It is a genre that plays a crucial role in the art community as it publicizes art, promotes artists, educates the public and enhances their appreciation of art. This study investigates this underexplored genre through the move analysis of a 67,807-word corpus of 70 art review texts collected from online art magazines and online newspapers containing an art review section. The study reveals seven moves and seven steps found in the art reviews in the corpus: heading (Move 1), describing the work (Move 2), providing external information (Move 3), providing the artist's background (Step 3.1), providing general knowledge (Step 3.2), discussing a past event that influences the work (Step 3.3), mentioning quotes (Step 3.4), mentioning other reviews (Step 3.5), interpreting the work (Move 4), judging the work (Move 5), providing evaluative comments (Step 5.1), recommending or disrecommending the work (Step 5.2), expressing general opinions and thoughts (Move 6), and sharing the writer's personal experience (Move 7). The results also show no common move patterns, indicating that the genre allows fluidity and creativity in structuring the content.

In this study, the author explores metaphors related to students' experiences conducting collaborative arts-based ethnographic research in a U.S. nonprofit organization. A metaphor analysis of 25 students' essays revealed they were most likely to frame their experiences with arts-based service learning as a journey or a sports contest. The author examines the extent to which students' metaphors legitimize or delegitimize arts-based service learning, as well as the degree of novelty that characterizes these metaphors. She explores the implications of her findings for teaching and promoting arts-based service learning in the academy.

In this paper we present the analysis and interpretation of data collected during an intercultural virtual exchange undertaken in 2020 in which students from Argentina and the USA explored how trauma and suffering associated with COVID-19 can be channeled through collaborative artistic multimodal creations, and how approaching this in a productive way can lead to self-transformation in terms of intercultural and civic growth. To obtain unbiased data, we did not give the students information on the Council of Europe's Reference Framework of Competences for Democratic Culture (RFCDC; 2018) which was fundamental to our conceptualization. Here, we apply an ex post facto research method to explore which of the 20 competences for democratic culture included in the RFCDC were mobilized and deployed by our students during this project. We do so by analyzing their multimodal artistic creations, social actions, and their civic statements from the perspective of the RFCDC definitions and descriptors. Findings indicate that the virtual exchange project contributed to the cultivation of 'democratically and interculturally competent citizens' as conceptualized in the Reference Framework of Competences for Democratic Culture.

This article describes how to help students connect what they learn in the language classroom to the outside world as they learn to understand, produce, and analyze spoken, written, visual, and cultural information in their second language (L2). As learners make connections between course material and the physical and virtual spaces where the L2 is used, they are introduced to the concept of "linguistic landscape" (LL), which refers to language on signs, advertisements, in graffiti, and other public venues. The examples come from a Hebrew class, where students gain deeper understanding of diverse intercultural realites in Israel and are prepared to function in authentic communicative situations. Colleagues in other languages could also use LL as a basis to explore intercultural realities of any multilingual space--from Berlin to Québec or in students' own environments.

This article explores and develops possible additional understandings of the term "artistic citizenship" as: 1) a lens to promote critical reflection; 2) a developing inclusive artistic identity; and 3) action for change. First, I provide a general overview of artistic citizenship in order to familiarize the reader with its current definitions and critiques. Second, I propose and develop three possible complementary understandings of the term by drawing parallels between different aspects of scholarship in citizenship and in the arts, exploring existing connections between the two fields, and developing new links between them by extrapolating relevant shared challenges, critiques, and possibilities from discourses about the former into the latter. Finally, I discuss how other conceptualizations of artistic citizenship could have been possible, and how replicating the processes presented in this article with other multidisciplinary terms--that link music with different fields of knowledge--may expand their possibilities as evolving, multifaceted, flawed, and "full of potential" assets that can keep enriching music education practice and scholarship. [Note: The page range (80-101) shown is incorrect. The correct page range is 81-101.]

Environmental science classes often ask students to examine changes in species or their environments to determine the human impact on a particular habitat or ecosystem. It is not always practical to take students out for a field study to do this kind of analysis; instead, the scientific method and diversity analyses can be utilized while students compare topographic maps, photographs, or paintings over time. In this article, we present three laboratories that use artwork (e.g., paintings or photographs) to have students examine anthropogenic alterations in the character of landscapes and explore how our connection with nature has changed over time. These laboratories can benefit educators looking for an interdisciplinary STEAM approach to introduce both biology majors and nonmajors to environmental science concepts and the scientific method in a highly relatable way.

Effective arts learning requires the development of important literacies. While investigation of discipline-specific literacies has filtered the literature, it is unclear if these literacies are acknowledged, understood, and/or taught. In this paper, we share the classroom discourse of two arts teachers in early and middle years across visual art and music--to determine how discipline-specific literacies are used and taught. Findings show that these teachers intuitively and consistently share age-appropriate arts-literacies and use semiotic metalanguage with their students to express and make meaning through arts practices. With contemporary research in the field of literacy consistently acknowledging the diverse ways we communicate and the importance of creative thinking and aesthetic-artistic reasoning, it is critical that classroom data, such as shared in this paper, is considered for future curriculum development. We conclude by recommending strategies and considerations for arts teachers when planning and implementing arts literacies to improve students' applied understanding.

The aim of this study is to identify the relationship between pre-service preschool teachers' metacognitive awareness and creative thinking domains and the predictive level of metacognitive awareness on creative thinking domains. This study following creative domains were examined: scholarly, performance (art), everyday/self and artistic creativity. The study conducted on 374 preservice preschool teachers, 314 female and 60 male, were reached out through purposive sampling method. Ages ranged from 18 to 36 (Mean= 19,27, SD=6.96). "Kaufman Domains of Creativity Scale" (K-DOCS) and "Metacognitive Awareness Inventory" were used as data collection tools. Descriptive statistic was performed. Correlation analysis was run to determine the relationship between metacognitive thinking and creativity and creative domains. And also regression analysis was performed to identify the predictive level of the metacognitive thinking on creative thinking domains. Findings show that significant relationship was found between metacognitive awareness and creative thinking domains sub-dimensions of the scale (scholarly, performance, everyday/ self and artistic), Metacognitive awareness significantly predicted creative thinking domains. The predictive levels varied by creative domains. Metacognitive awareness predicts scholarly and everyday\self creativity at the highest rate. The findings obtained in the present study yielded similar results of studies on metacognitive thinking and creativity in the literature.

This study examined students' understanding of, and reflective inquiry into discourse, specifically their epistemic discourse understanding and meta-discourse, and investigated their roles and relationships in fostering productive inquiry in knowledge building. The participants comprised two classes of ninth grade visual arts students inquiring into art and design. The experimental class (n = 31) engaged in knowledge building using Knowledge Forum® (KF) enriched by meta-discourse involving reflective inquiry and classroom discussion about their discourse. The comparison class (n = 32) similarly worked on KF but using regular classroom discussion. Quantitative analysis indicated that the experimental group students, who engaged in meta-discourse, showed a deeper epistemic discourse understanding and domain knowledge than the comparison students, and that epistemic discourse understanding was associated with productive KF inquiry. Qualitative analysis of the classroom meta-discourse showed that metacognitive reflection, principle-based inquiry, and idea development (i.e., meta-epistemic reflection, meta-epistemic principles, and meta-epistemic theory) support epistemic understanding and productive inquiry. We also discuss the implications of using meta-discourse to enhance epistemic discourse understanding and productive inquiry for knowledge building and computer-supported collaborative learning.

Works of fine art present an inexhaustible source of imagination, aesthetics, and creativity and can stimulate the development of personal creativity. Communication with artworks is possible if trained to understand and aesthetically experience them. It is therefore important to be in contact with the rich symbolic meanings of the language of art. If we want to educate students to be able to communicate and understand the cultural dynamics of art forms and to successfully communicate with art forms in the future and develop their visual art literacy, we should implement artistic educational content in higher education. Contact with artworks allows students to better understand their thoughts and feelings and, if using appropriate methods, an artwork can stimulate students to be creative. This paper investigates the influence of Surrealist paintings (made by Rene Magritte and Salvador Dali) on stimulating the artistic creativity of 46 first-year students of Early and Preschool Education at the Faculty of Humanities and Social Sciences in Split, Croatia. The results are presented using a qualitative methodology, i.e. a specific method of aesthetic transfer (perception, reception, and reaction) that brings the observer of the artwork into aesthetic interaction with the work and stimulates their experience of the work along with their creativity. Experiencing the artworks of Surrealism aroused students' emotions and aesthetic experience, allowing them to create background stories about the observed. Using various freely chosen art techniques, they also made their own artworks, which influenced the development of student creativity.

By travelling in a cosmopolitan milieu in a UK university, pedagogies of possibilities are explored. Over a period of five years the exploration narrates the journeys of, what Clover (2010) calls, "artists as educators," documenting conversations and creative pedagogic practises. This is despite the closure of the university campus in 2023, due to an overt neoliberal agenda. The findings of two feminist cosmopolitans in conversation, illustrates that when stories require repetition, that is the retelling of a certain narrative as well as stories that are whispered, they are of a particular significance. Represented are resistance, resilience and rebellion. In addition to the tone and context of conversations being important, the findings in the research suggest that by adhering to a feminist cosmopolitan ontology, encouraged is a sensitive, ethical encounter with others. This approach suggests that those marginalised in the academy and the artworld, then are seen and heard. Their voice and artwork are visualised as challenges to the norms of the academy.

In this article, I provide a critical reading of the now-removed statue of Sir John A. Macdonald in Charlottetown, Prince Edward Island, Canada. I bring together my own experience visiting the statue with understandings from Indigenous scholarship and public pedagogy theorizing to think about commemorations as public pedagogies that are foremost relational. I consider how the Macdonald statue works narratively, discursively, and as a site of embodied encounter to create a harmful relationality. Thinking relationally, and pedagogically, about colonial statues suggests possibilities not only for understanding how these commemorative practices produce bad relations but also for envisioning and enacting good relations.

Active learning is a technique used to help transfer passive knowledge into true learning of material, which can be very beneficial when learning challenging topics. The endocrine system is a complex series of topics that can be challenging to tackle in the short amount of time allotted to it in the medical school curriculum or an undergraduate anatomy and physiology course. Pedagogical strategies that use art as a tool have been shown to motivate and induce students to self-learn such complex physiology topics. The hormone project was designed to help students manage the vast amount of information and acquire knowledge in a meaningful and creative way. Students were asked to create a visual project to depict an endocrine disorder that incorporated art into their learning of the endocrine system. Based on post-session survey results, students found the activity to be beneficial to their learning and they enjoyed engaging in the activity. Providing students with opportunities to engage with material in a creative, artistic manner can be both engaging and enjoyable. This activity provided students with a chance to develop their own memory hooks to facilitate easier recall of the complex topics in the endocrine system. A pilot study of this activity shows great promise to be a staple in curricula that embrace active learning.

This study aims to determine the perceptions of pre-service social studies teachers about aesthetic values after visiting a virtual museum. The research was planned according to phenomenology, one of the qualitative research designs. The data of the research was collected through interviews. The descriptive analysis technique was used to analyze the data obtained from the research. According to the results of the research, regarding Pera virtual museum experience, the pre-service teachers pointed their opinions as "its usability in the lessons, the feeling as if they were there." The elements that attracted their attention during virtual museum visit, "mostly the artwork named "The Tortoise Trainer", explanations and videos next to the paintings." The pre-service teachers stated their aesthetic values gained through the virtual museum visit as mostly "beauty," and then "harmony, balance, delicacy, elegance, mystery, perfection, seriousness, majesty, aesthetics, perception of change and continuity, observation, respect, sensitivity, understanding, protecting and sustaining cultural values, pleasure, happiness." They expressed the effects of virtual museum visits on aesthetic values as mostly "gaining a more positive attitude towards aesthetic values," followed by "raising awareness, artworks should be evaluated from an aesthetic point of view, seeing the artworks in the museum from a multi-faceted perspective."

This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik's (2019).

The "new digital art? genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.

The William Penn Foundation launched Philadelphia's Informal Learning Initiative (ILI) to support the development of literacy-rich programming for families with children aged 3 to 9. The initiative was designed as a network of partnerships in which a cultural organization--usually a museum--paired with one or more, community-based organizations (CBOs) to design literacy-rich informal learning experiences for caregivers and children. The initiative involved 11 cultural partners and 15 CBOs. Programs exposed three- to nine-year-old children and their families to literacy practices in the context of original artwork, live animals, science experiments, natural settings, new foods, and cultural or historical sites. Programming was delivered at no cost to families, often in community settings such as recreation centers or school auditoriums. Convenient times and locations, as well as snack or meal options, supported family participation, as did book giveaways, take-home activity packs, and special museum visits. As the evaluation team for ILI, the authors structured their work to support the development of a networked community of practice, collecting data for improvement and exploring the best ways to measure impact across projects. They used a structured observation protocol and CBO staff- and educator-conducted interviews with children and caregivers in their programs to determine ILI programming's impactfulness. The study aimed to examine how museums can connect to collective impact efforts in literacy and how informal learning programs can be reoriented to better respond to community needs. Findings from the study and recommendations for museum-CBO partnerships are discussed.

Creative Youth Development (CYD) is a holistic approach to engaging young people through the arts and creativity to support them in thriving in all aspects of their lives. Young people consistently rank culminating events -- performances, exhibitions, youth summits, screenings of their films -- as a powerful motivator and key aspect of their involvement in creative youth development programs. This article features insights from a qualitative research study in the United States that explored how CYD programs adapted culminating events to the largely virtual program environments of 2020. Findings include challenges organizations faced in 2020; strategies for adapting culminating events during the COVID-19 pandemic, ranging from centering core principles of youth leadership and prioritizing connection with young people to creative strategies for engaging youth, including positioning new event formats as opportunities for youth to co-create entirely new experiences and events; and implications for the youth development field.

This essay posits tensions in art, education, and politics by using philosophical discourse to suggest that the way to create transformative events for social change is to understand Lyotard's diagnosis of the current age and Rancière's call to critical art practice. By proposing new strategies and tactics such as 'post-art' and 'strange tools', the author tries to demonstrate in the text the indirect approaches advocated by Lyotard and Rancière in tackling the current post-political world.

In a Swedish second semester course on Euclidean and non-Euclidean geometry in mathematics education at Karlstad University, a bridging teaching strategy comprising elements from Mathematics, Didactics, History, Literature, and Technology was applied by using the concept of Narrative Didactics and Digital Interactive Mathematical Maps developed by the Professorship for Didactics of Mathematics at the University of Passau, Germany. The complete assessment of the teaching strategy comprised both an evaluation of the technological and the narrative didactical scaffolding and was partly analysed previously concerning especially the technology acceptance aspect, while here we broaden and deepen the evaluation analysis of the application of narrative didactic elements. Regarding the latter, at the end of the course, students were asked to formulate a short historical-oriented narrative motivation for a school topic of own choice with the help of information provided by the timeline of the Mathematical Map. A representative example of these art-combining products is presented and evaluated according to elements of narrative didactics. Results indicate a fruitful, promising, and synergetic connection between different fields of Science, Technology, Engineering, the Arts, and Mathematics that can lead to a richer and more sustainable learning process in mathematics lessons both at university and school level.