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

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

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

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

This paper introduces the life and work of art educator and designer Kurt Rowland (1920-1980) who authored the first set of textbooks on visual education and played a role in the shifting world of art and design education in post-war Britian. We detail the foundational experiences of his extraordinary life in the first half of the 20th century including surviving the Spanish Civil War and "La Retirada," being a 'friendly enemy alien', and becoming one of the Dunera boys forced into Australian internment camps. He later went on to develop a new aspect of art and design education he called visual education. We explore Rowland's notion of a visual education, explicating its features, appraising its import, and situating Rowland's ideas to those of his contemporaries. We explore his motivations and how his work advanced art pedagogy. Finally, we argue that Kurt Rowland has been absent in recent literature on art and design education and that his work, which contains elements that have continued relevance today, should not be overlooked.

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

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

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

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

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

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

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

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

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

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

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

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

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

Introduction: Why was the study undertaken? What was the research question, the tested hypothesis or the purpose of the research? The research question is: What are the implications of disciplinary aesthetics when marine science meets art in educational research? Children in schools from Victoria, Australia were engaged in a series of marine science fieldtrips, workshops and lessons based on the Great Southern Reef, a temperate marine environment of Australia. They created drawings based on provocations, to depict their knowledge of marine species, before and after these education experiences. Methods: When, where, and how was the study done? What materials were used or who was included in the study groups (patients, etc.)? This paper shares the mixed methodology used by focusing on the qualitative methods used, that arose out of a need to understand the role of aesthetics in this research project. This paper documents the analysis of data that included children's drawings and dialogue between researchers and children from interviews. We discuss insights into the role of aesthetics that were revealed in the visual and narrative data from perspectives of children's learning and how the researchers were able to understand this. These findings are discussed considering the teaching intentions and procedures used, the importance of this multimodal approach to research that revealed aesthetics of science, visual art and language in education. Results: What answer was found to the research question; what did the study find? Was the tested hypothesis true? The research reveals the important role drawing has when trying to understand the students' varying degrees of understanding marine science education. Variables include: their prior experience with marine environments, students' drawing abilities, stylistic elements (that can render an image 'confident' or 'sketchy'), compositional devices and use of perspective that their drawings depict (looking at a pier from underwater or through snorkel goggles). It also includes interpretations and explanations of their drawings and other uses of language such as the use of written labels to reinforce or clarify parts of their drawings. Discussion: What might the answer imply and why does it matter? How does it fit in with what other researchers have found? What are the perspectives for future research? This research reveals the important role of multi-modal approaches in science learning and the significant and dependent role of visual art and words, for students to communicate their learnt content knowledge. It highlights the aesthetic experiences that must be taken into consideration when teaching, learning and when understanding what has been learnt. [ABSTRACT FROM AUTHOR]

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

This essay employs personal biography to illustrate larger questions regarding global transformations in the creative arts and tertiary education sector. With a focus on how neo-liberalism has impacted professional screen practices in Australia and those in the contemporary Academy, this paper also provides two screen-arts case studies to illustrate what poietic research forms can uniquely bring to scholarship. [ABSTRACT FROM AUTHOR]

In 2020, because of a pandemic and the subsequent necessary and immediate pivot to online and distance education, physical art and design studio learning dispersed and instantly became (and, it can be argued, irreversibly) remote via a range of university‐approved digital platforms. This article examines a study conducted after distance education had been universally implemented in one college of art in Australia. The data analysis highlighted inconsistency across art and design student engagement. Generally, students who were situated in the later years of their degree programmes fared better than first year students new to the processes, practices and socialisation of studio learning. This article evaluates the differences in student engagement online and proposes strategies for reflective teaching when interacting with students remotely. [ABSTRACT FROM AUTHOR]