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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.

Aims: To determine the associations between COVID-19 school closures and school readiness skills for Chinese kindergarteners. Design: We utilized the natural experimental condition created by local COVID-19 outbreaks in 2022 (Study 1) to compare school readiness skills of children whose kindergartens were closed for 5 months (Group 1) with children whose kindergartens stayed open (Group 2). We further compared the school readiness skills of one pre-COVID-19 cohort (Cohort 2019) with one COVID-19 cohort (Cohort 2021) from a fifth kindergarten (Study 2). Samples: For Study 1, Group 1 included 445 children and Group 2 included 584 children aged 4-6 years. For Study 2, Cohort 2019 included 156 children and Cohort 2021 included 228 children aged 3-6 years. Measures: For both studies, survey data on four school readiness skills were collected from parents. Additionally, Study 1 collected parental locus of control data from parents. Results: Controlling for covariates, Study 1 revealed that Group 1 and Group 2 did not differ in terms of language and emergent literacy or approaches to learning. However, Group 1 scored lower than Group 2 on health and well-being and arts and imagination. Study 2 revealed that Cohort 2021 scored higher than Cohort 2019 on language and emergent literacy but lower on the other three skills. Conclusions: The associations of COVID-19 school closures with Chinese children's school readiness skills were not uniform, with a positive relation with language and emergent literacy and negative associations with health and well-being, approaches to learning, as well as arts and imagination.

The United Nations' Sustainable Development Goals (SDGs) provide a framework for building sustainable marketing strategies to improve social and natural environments. Marketing is a key factor for achieving SDG12, "Ensuring sustainable production and consumption patterns," and a new kind of marketing education is needed to engage and transform students accordingly. In a sustainable marketing class, we asked students to weave a rug from recycled clothes, then estimate its selling price, considering its production and environmental costs. This arts-and-crafts-based pedagogy gave students a deep understanding of the requirements of SDG12. It was engaging for students and highlighted the role marketing can play in raising willingness to pay higher prices for more sustainable products. In sum, this class achieved transformative sustainability learning in line with the Head, Hands, and Heart framework proposed by Sipos et al.

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the 'daily extraordinary.' A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022-2023, in which events and connected teaching activities practised being "All For the Arts." With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts -- that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors.

This paper explores children's understandings of Acknowledgement to Country practices and Aboriginal knowledges. Guided by the relational lenses of respect, responsibility and reciprocity, we conducted focus groups with children across five Australian early education centres. We found that Acknowledgement practices were evident through recitation of their Acknowledgement to Country, engaging with artefacts, and/or discussion of artworks. Secondly, children demonstrated emerging understandings about place names, the symbolic use of flags for places and people, and Australian plants and animals. Thirdly, Aboriginal cultures as living cultures were evident in temporal discussions about people and culture. Finally, imaginative play implied efforts to make sense of Aboriginal concepts and language. Across the study, children were active in experimenting with ideas in their own meaning making. Acknowledgement to Country was not a moment in the day; rather, it was embedded throughout the day through routines, storytelling, play and creative activities, all designed to foster learning.

Dealing with conflicts seems to be a great challenge in society today. But not only in society. Higher education displays an air of resoluteness with certainty and security that disguises the conflicts and the fear of conflicts in a substantial number of subjects. If not in a state of denial, higher education avoids taking up conflicts over issues, for learning. The detailed investigation of Tagore's pedagogical writings, with a focus on the importance of conflicts in education, reveals a genuine embrace of conflicts for education. Conflicts are natural and necessary for the development and change of both the individual and society and the start of a 'creative imagination' to solve the problems we face in life. Contradictions in conflicts are not incompatible incongruities that are irreconcilable and mutually exclusive, but to the contrary, in need of each other. Contradictions do not represent different worlds but are substantial parts of one world: together they form a unity. Conflicting forces are necessary to create harmony. Creativity, imagination, love, art, and critical encounters are key elements in Tagore's practical education aimed at finding similarities among people instead of emphasizing differences. Relations between people over the Identity of people. In other words, we need conflicts to become creative and imaginative human beings. The paper continues discussing conceptual and practical issues that seem necessary to get the teaching of conflicts in education off the ground. On the conceptual level, in particular our dealing with uncertainty and fear, the valuation of conflict and the need for uncertainty-researching education. On a practical level, I propose a certain teaching model, a supportive curriculum, a way of choosing genuine conflicts for education and finally, I argue for specific support and education of teachers, acknowledging the vital role teachers play in delivering the education that we need.

Brazilian writer Carolina Maria de Jesus (1914-1977) was born in a rural community and spent most of her life in a slum. Despite this, her literary work achieved remarkable editorial success, having its value recognized by critics and academic circles. This paper analyzes Carolina Maria de Jesus's autobiographical narratives in the light of John Dewey's aesthetic theory, with the purpose of investigating the factors responsible for the development of her aesthetic sensitivity -- intellectual and emotional dispositions favorable to involvement with artistic practices. The results suggest that Carolina Maria de Jesus's literary skills, which express not only individual but also collective yearnings, resulted from the incentive she received to think about things that do not exist and from her relationship with people who favored the formation of a personality open to varied experiences. Such results are presented as requirements for a democratic and humanist education that aims at the flowering of aesthetic sensitivity and encourages educators and students to believe in their creative potential.

Museum learning is beneficial for social inclusion, deepening partnerships between schools and museums, and increasing levels of pupil attainment. While there have been numerous empirical studies on the use of haptics in formal educational settings, few have explored the effect of haptic interaction on learning outcomes in museum learning. This study looks at an interactive 3D artifact simulation using a haptic interface and a non-haptic interface, with one group using 3D hand motions and receiving visual/haptic stimuli, and another group using a mouse and only receiving visual stimuli. Forty individuals majored in arts or social science courses were asked to perform four main interactive tasks about 3D collection. Using a triangulation of assessment scores, investing time, and satisfaction with interactions with the 3D artifact simulation, we explored the efficacy of haptic interaction in improving museum learning. The results showed that in general, the haptic interaction was more helpful in promoting learning performance in relation to 3D collections. However, significant differences only occurred in relation to the volume and material interactive tasks, and not in relation to the contour and color interactive tasks. The Findings reveal that the visual/haptic stimuli provided by haptic interaction in museum learning has a stronger modality effect on human information processing, and the effect of haptic interaction depends on the coupling of interactive tasks and sensorimotor experiences. Further, psychological immersion is more likely to occur when using haptic interaction, and haptically augmented 3D artifacts attract learners' attention, enhancing learner engagement and motivation. Explanations for these results are synthesized from the perceptual symbol, embodied cognition, and immersion theories.

Newcomer adolescents make up a large minority of Canada's population and their positive integration experiences with education systems across the country are critical for both their development and the country's long-term success. The current study examined newcomer adolescents' (n = 4, between 16 and 18 years old) integration experiences using an arts-based engagement ethnography to understand what influences their positive integration into the school system. Artifacts, interview, and focus group data were analyzed systematically using ethnographic research guidelines. Five structures were identified: (1) barriers to advancement at individual, school, and macro levels, (2) fluctuating relationship with cultural identity, (3) limited trust in systems, (4) resilience through independent learning, and (5) facilitating factors to positive integration experiences at the family and school level. In keeping with a relational developmental systems theory framework, each structure accounts for multiple inter- and intra-individual factors at multiple environmental levels. These findings outline considerations for systemic issues in academic institutions and offer suggestions for how institutions can better support newcomer adolescents.

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 reflective account looks back on 'Performance, Positionality, and Witnessing,' a course taught in Summer 2022, which engaged various Filipinx Canadian performance texts. The course encapsulated an experience in teaching performativity while also introducing students to the notion of witnessing -- that is, being cognisant of their positionality in bearing witness to diasporic experience encountered in performance text. As an intervention to 'regular' survey courses, 'Performance, Positionality, and Witnessing' challenged students' detachment from course material by inviting them to examine their entry point to material as readers, thinkers, and creators.

This case study of classroom practice examined what preservice teachers learned about young children's metacognitive thinking processes and constructivist pedagogy through a classroom project. Thirty preservice teachers engaged in a semester-long metacognitive project in which they conducted four sessions with a group of young children. The project was designed to help preservice teachers to foster young children's metacognitive thinking processes and to become reflective about their roles as constructivist teachers. Their final reflections on the metacognitive project experience were analyzed through the theoretical lens of Kroll and Ammon's dimensions of constructivist teacher education. These preservice teachers demonstrated understanding of the key ideas of metacognition and constructivist teaching, including understanding the role of representation in knowledge construction process, building an autonomous learning community, articulating children's knowledge-building processes, and engaging in the cycle of reflective teaching practices. They understood the importance of children's metacognitive thinking in the construction of knowledge and how to adapt their roles as learning partners.

The developing science of cathedral studies has focused mainly on Anglican cathedrals. The present study argues for drawing Catholic cathedrals into this field. Employing data gathered from the websites of the 22 Catholic cathedrals in England and Wales, alongside data gathered from the diocesan reports submitted to the Charity Commission, this study demonstrates the distinctiveness of the ministry and mission of Catholic cathedrals compared with Anglican cathedrals.

Docent programs are in flux. Many institutions have rethought their programs to encourage more diverse voices: some have eliminated the docent role, while others have changed their structure and offered additional training. When The Huntington Library, Art Museum, and Botanical Gardens decided to invest in its docent program as part of an Institute of Museum and Library Services grant, they started with a self-study of 10 docent programs across the country. This article summarizes the key findings of that work, from which three major themes emerged: intentional investment, targeted approaches for diversification, and expanding non-traditional training approaches.

Learning around artificial intelligence (AI)-powered technologies that attends to power is an urgent and widely felt priority among the learning sciences and CS ed broadly. Popular approaches to AI education focus on technical skills, with far less theoretical and practical work around critical and justice-centered AI learning. Adding to this literature, we discuss tool design and observed interactions in Drag vs AI workshops, where participants use hands-on makeup art as a medium for fooling, subverting, and refusing facial recognition. Our broader analysis asks how participants make sense of the technical and political aspects of AI, as they interact with AI through the Drag vs AI workshops' modes of aesthetic transformation, tinkering, and resistance. In this paper, we focus on participants' embodied algorithmic tinkering with AI and affordances for justice-centered computing education. Our analysis highlights how tinkering and play modes of interaction with AI materials can promote critical and agentive learning.

This article, which explores a community filmmaking program for youth facing multiple barriers, presents a unique way of reimagining democratic practice through artful community inquiry that foregrounds entanglements of relations and engagements. In an era of constant change, increasing interdependence between local needs and global influences invites us to attend to the complex dynamics of individual and community needs. Community inquiry as a conceptual framework reimagines the community as curriculum--a way of actively engaging with the world. The concept of "transversality" acknowledges that learning is an educative force that disrupts binary forms of logic and layers of hierarchy, allowing us to traverse lines of entanglement when we navigate and negotiate collective engagement in communities. Insights from a youth filmmaking program show how "community as curriculum" and thinking transversally can enhance the vital role of artful community inquiry in promoting democratic practice by connecting learning with lived experience.

The development of new approaches to digital art is based on improving a variety of technologies. The main goal of this paper is to identify the gamification of digital art through the promotion of speculative design and interactive experiences. To achieve this goal, theoretical and practical methods were used in the research. A survey determined approaches the designers used to improve their skills. Most respondents (28%) prefer reading books and watching video blogs on their own while 22% of designers took professional courses. Therefore, mechanisms that promote respondents' involvement in selecting professional courses for designers have been described. Cognitive assessment of the skills acquired after completing the course showed significant advantages compared to those observed at the start of the experiment. This was confirmed by the Cohen coefficient. The hierarchy analysis method also contributed to the identification of program elements that are most important for the development of professional skills while not relying exclusively on the data from respondents. The value of the presented work lies in the possibility to improve the skills of gamification in the field of design with the help of the developed mechanisms, the effectiveness of which has been confirmed in practice.

Given that societies across the globe are increasingly multicultural and multilingual, the notion of communicative competence grounded in constricting definitions of national cultures and languages reflects neither our instructional realities nor the sociolinguistic reality of the languages and cultures we teach. To foster students' development of second language (L2) competence grounded in an awareness of the symbolic construction of language and culture as well as "tolerance for ambiguity" (Kramsch, 2006), students must create with L2, rather than just reproduce what they have learned. After briefly outlining changing conceptions of language competency, this paper first describes how public uses of language and images through signs and graffiti make up a given place's linguistic landscape (LL), defines an evolving concept, and illustrates how it can be effectively used in L2 instruction. Then it highlights how a variety of LL-based activities help language learners become cognizant of their own sociolinguistic contexts and provides concrete examples from intermediate to advanced-level classes in two distinctly different German programs. The different approaches encourage students to combine LL-based activities with visual, literary, and film analysis to develop symbolic competencies that prepare them to negotiate unpredictable and diverse cultural norms.

The National Memorial for Peace and Justice (NMPJ) opened in Montgomery, Alabama, on April 26, 2018. The memorial provides a sacred site where people can gather and reflect on America's history of racial injustice and represents an essential milestone in the ongoing process of racial reckoning in the United States. As Alabama has historically been a crucible for change in the fight for racial justice, it serves as a poignant site for this ongoing effort. Martin Luther King, Jr.'s observation that Montgomery, once the "Cradle of the Confederacy," was transforming into the "cradle of freedom and justice" reflects the city's continuing metamorphosis (King, 1998, p. 62). Against this backdrop, this article delves into the complex interplay of Confederate monuments, countermonuments, and public art, exploring how certain symbols shape narratives, perpetuate systemic racism, and become focal points in the ongoing struggle for justice. Additionally, this article further examines historical myths, educational narratives, and the intersection of art and activism, ultimately converging on the NMPJ as a transformative symbol and a beacon for a more equitable future.

Artificial intelligence (AI) has breached creativity research. The advancements of creative AI systems dispute the common definitions of creativity that have traditionally focused on five elements: actor, process, outcome, domain, and space. Moreover, creative workers, such as scientists and artists, increasingly use AI in their creative processes, and the concept of co-creativity has emerged to describe blended human-AI creativity. These issues evoke the question of whether creativity requires redefinition in the era of AI. Currently, "co-creativity" is mostly studied within the framework of computer science in pre-organized laboratory settings. This study contributes from a human scientific perspective with 52 interviews of Finland-based computer scientists and new media artists who use AI in their work. The results suggest scientists and artists use similar elements to define creativity. However, the role of AI differs between the scientific and artistic creative processes. Scientists need AI to produce accurate and trustworthy outcomes, whereas artists use AI to explore and play. Unlike the scientists, some artists also considered their work with AI co-creative. We suggest that co-creativity can explain the contemporary creative processes in the era of AI and should be the focal point of future creativity research.