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Teacher education in Russia has become the subject of considerable reform over the past 50 years. It is today a complex system of continuous training which gives students a chance to enter the profession in a number of different ways, as well as maintain their professional skill set throughout the course of their careers. This paper offers a comprehensive overview of the history and the state of art initial teacher education in Russia during the last 50 years. It aims to draw on scholarly expertise in Russia and will locate the policies and practices that are discussed within the context of teacher education reform. The main themes of the paper are the history and current practice of Russian initial teacher education. The paper will consider the relationship between policy and practice and examine the respective influences of the former Union of Soviet Socialist Republics (USSR), and processes of wider reform in the Russian Federation since the 1990s. [ABSTRACT FROM AUTHOR]

Physical and spatial presence has been regarded as a prerequisite in cultural participation and art mediation, vital for both the authentic art experience and for learning. The digital turn has challenged these truths. This article investigates the challenges and possibilities of participation and mediation when artists and art teachers, who normally meet their young audiences face-to-face in physical venues, reorient themselves and move to digital spaces. Using empirical data from Norway, and the concepts of emotional energy, present absence and liveness, it pursues how participation and mediation take place, and perhaps change, when cultural participation and art experiences move from their traditional physical moorings, and into various digital formats and platforms. Thus, it investigates both what is lost when cultural participation goes digital, what (new) possibilities arise, and how the cultural values associated with participation and mediation are transferred or challenged by digital formats and platforms. [ABSTRACT FROM AUTHOR]

This study investigates the attitudes and self-efficacy of university art education teachers in Wuxi, China, toward Artificial Intelligence (AI). Using Social Cognitive Theory and Diffusion of Innovations Theory, 384 valid questionnaires were collected. The results show that teachers generally lack confidence in AI, with only the “ease of use” dimension receiving positive feedback among five dimensions: relative advantage, compatibility, ease of use, trialability, and observability. Differences in attitudes and self-efficacy were found, with single teachers, associate professors, and digital art instructors exhibiting more positive attitudes and higher confidence. A significant positive correlation was found between teachers' attitudes toward AI and their self-efficacy in applying it in classrooms. The study proposes strategies to foster more positive perspectives and self-efficacy regarding AI for art educators. [ABSTRACT FROM AUTHOR]

Since the outbreak of the COVID-19 pandemic, art educators have had to abruptly overcome their resistance toward online education due to the forced transition to an online class format in K-16 education across the country. As online art educators, we also changed aspects of our courses to better meet student needs during this time. Based on these changes, this commentary examines our pre-service art teachers' learning experiences in online courses, mainly focusing on the interactions within video-conference-based synchronous classes. Curious about the relevance of Evans (2016) claim that "the virtual is real" for students' online-based situated learning, we share three vignettes from our recent teaching practices: 1) our students' perceptions of a divide between the instructor's real self and the instructor's virtual self that they encountered in online classes, 2) new learning patterns exhibited by our students during the pandemic and 3) changes in the expectations of our students with regard to online class instruction and delivery. [ABSTRACT FROM AUTHOR]

The article discusses Canadian mineral artist Roger H. Mitchell, a professor emeritus at Lakehead University, who combines his passion for geology with art to create digitally-worked abstract artworks using petrological images. Mitchell's art is inspired by his extensive research on rare igneous rocks and his fascination with the textures and colors of minerals observed under cross-polarized light. His artwork, part of the Steinbilder series, showcases the hidden beauty of rocks and minerals through vibrant colors and unique compositions, with some pieces resembling stained-glass windows. Mitchell's work has been exhibited in Thunder Bay, Ontario, and he plans to share his collection on the Almaz Press website. [Extracted from the article]

The article explores the use of artistic cartography in the training of future art teachers. Topics discussed include the origins and history of artistic cartography, experimental cartographic representation media in contemporary art and art education, implementation of mapmaking as an artistic experience in art education, walking art and artistic cartographic creations in the classroom, and social and cultural artistic cartography.

The article calls for vulnerability and inclusivity in K-12 art education. It describes practices adopted for preservice art teacher preparation that include building critical communities of care through affirmation of difference and acknowledging complexities of intersectionality, sharing stories of failure or mistakes, fostering critical reflection, learning from missteps, and developing internal compasses by modeling values of listening.

There is scant evidence on the level of arts education available in U.S. public schools and how this has changed over time. In this paper, I present new evidence on broad trends in arts education in U.S. public schools from 1988 through 2018 using nationally representative data from the Schools and Staffing Survey (SASS) and the National Teachers and Principals Survey (NTPS) and administrative data from North Carolina. Both the SASS/NTPS and North Carolina data cover several school years after the Every Student Succeeds Act was passed in 2015, which may have impacted arts education. I first calculate the percentage of full-time teachers whose main teaching assignment is in the arts. In the aggregate, about 5.5% of public school teachers are arts teachers, and this has been stable for decades. There are substantial regional differences that have also changed little. I also find substantial and persistent differences by school characteristics: Schools with higher percentages of both Black, Indigenous, and people of color (BIPOC) and low-income students consistently have a lower percentage of full-time arts teachers than other schools. I also examine of school-level and student-level trends in arts access using administrative data from North Carolina from 1998–2013. I find narrowing gaps in the presence of licensed art teachers between low-performing schools and other schools, and high-BIPOC schools and other schools. I also assess access to the arts at the student level from 2007–2018. I find narrowing gaps in arts enrollment between White students and Black and Hispanic students, consistent with the school-level trends I report. This descriptive evidence from both national and North Carolina data improves our understanding of how arts have been prioritized by schools in recent decades and highlights gaps in access students have had to the arts over time. [ABSTRACT FROM AUTHOR]

Distance-learning studies have seen an incredible growth in the last 20 years. The majority of these were at postgraduate level. Fewer were undergraduate and even fewer were in initial teacher education training. Within these, there are even fewer examples of art education courses as it was frequently argued that the experiential aspect of these courses could not be translated into a remote learning-teaching environment. Nevertheless, Higher Education is moving rapidly toward an expansion of distance learning. The article discusses characteristics of online learning in the field of art education for elementary school teachers. It focuses on lessons learnt during the Covid-19 Emergency Remote Teaching in the context of preservice elementary generalist teachers and how the pandemic has accelerated the "digitalization" turn. It discusses opportunities for experiential, collaborative and active learning that are transformative enough to overturn stereotypes and promote perceptions of self-efficacy in art learning. Further, it affirms necessary aspects of presence in an online environment – social, cognitive and teacher presence – to achieve successful student outcomes for non-art specialists. Drawing from pedagogy, the implications of the study offer policy recommendations to Higher Educational Institutions on how to support both teacher educators and pre-service teachers in the context of art learning. [ABSTRACT FROM AUTHOR]

The article examines how integrating philosophical inquiry into art education can transform the way students engage with art and aesthetics. It highlights the potential for K–12 classrooms to become spaces where students explore fundamental questions about art, beauty, and creativity, fostering deeper understanding and critical thinking. Topics discussed include the importance of asking philosophical questions about the nature of art, how these questions help students reflect on their own experiences, and the value of collaboration between art educators and philosophers to enhance students' creative and intellectual growth.

Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by artists to art students, setting this within a long view of the institutions of art and art training. Three partial models of the art educator and their associated qualities can be abstracted from medieval, early modern, and recent periods. (1) The Exemplar: possessed of practical skills and habituated understanding and judgement. (2) The Master: having in addition to the exemplar's qualitieserudition and cultivated taste. (3) The Critical-Advocate: theory-oriented, and self-consciously progressive. Good art (be it in terms of expressive, imaginative, formal, representational or other relevant aspects) has the power to transform makers and observers, and to encourage and deepen self-examination and self-understanding. Good art teaching should be alert to and directed towards these benefits. [ABSTRACT FROM AUTHOR]

Social-emotional learning (SEL) has become one of the fastest growing movements in education. However, while many teachers acknowledge the value of SEL, research shows that comparatively few educators feel prepared to incorporate it into their classrooms, and that current school culture emphasizes academics over SEL. This qualitative study examined the perceptions and lived experiences of K-16 visual art, theater, and music teachers in the arts classroom. We describe three art constructs aligned with SEL that emerged from our interview data with educators: identity, interactions, and independence. Our findings provide illustrative examples of teaching practices that support these connections and illuminate a need to expand the role of SEL in educational policy through the use of the arts. [ABSTRACT FROM AUTHOR]

This study aims to describe the expansive curricular landscape in art education that has often been depicted by the gap between theory-oriented curricular resources produced in higher education versus practice-oriented resources created and used in K–12 teaching. To provide a curricular overview, 162 K–12 art educators and 22 higher education researchers were surveyed, and 10 individuals from various school levels were interviewed. The quantitative and qualitative research findings illuminate the current status of the curricular divide between the K–12 level and higher education, as exemplified by K–16 art educators' ways to determine the quality of curricular resources, popular types and topics of curricular resources that they produce and use, and ways to improve the K–16 connection. Even so, this study highlights plausible actions, beyond changes in curricular resources, shared by art educators and preservice teacher educators that may help improve the possibly disconnected status quo. [ABSTRACT FROM AUTHOR]

Amid the imperative call for using digital artwork images and e-learning activities in planning and delivering the art curriculum heightened by rapid technological development and COVID-19, we propose a visual arts teacher–curator pedagogy and investigate its effectiveness in Hong Kong's primary and secondary schools. The pedagogy is set out to empower visual arts teachers to assume the role of "digital museum curators" and to facilitate student learning using virtual exhibitions. Design-based research was the methodology adopted for the study. Six teachers and 331 students participated in the study in the 2021–2022 academic year. The study, which examined the effectiveness of the proposed pedagogy, revealed a substantial improvement in student learning, including (1) motivating students toward self-directed and active learning, (2) stimulating artmaking ideas and skills, and (3) enhancing students' confidence through peer learning. [ABSTRACT FROM AUTHOR]

This article aims to explore characteristics of queer imagination that cultivate alternative desires and bodily relationships, making them more tangible as possible alternatives. By doing so, it provides an opportunity for educators to think about the pedagogical qualities of queer imagination and how they can offer alternative perceptual strategies that overcome limitations imposed by a recent influx of far-right laws and initiatives. It explores possible aesthetic and pedagogical models based on queer imagination that resist preestablished and essentialized understandings of how things are. The implications of this pedagogy indicate how educators and students might become queer connoisseurs who appreciate the ephemeral queerness of art objects. These queer imaginative strategies for envisioning alternative life possibilities should be of special interest to those interested in supporting the experience of queer students. [ABSTRACT FROM AUTHOR]

In this study, we investigated the demographic, educational setting, and pedagogical factors in inclusive visual arts and design classrooms for students with disabilities. We also explored how art teachers' backgrounds, training, and school environments influence their approaches to teaching students with disabilities. Using survey research, we analyzed responses from more than 1,000 preK–12 art and design teachers in the United States, focusing on issues related to inclusion. The analysis provides insights regarding teachers' characteristics, experiences, and pedagogical approaches for teaching students with disabilities in a post-COVID educational system. Linear regression provided insights into factors that can create a sense of community and belonging for disabled individuals in an art classroom. We found a significant relationship between teacher preservice coursework and teachers' approaches to developing inclusive classrooms. Teachers who identify as disabled, undergo preservice coursework involving disabilities, refer to students' Individual Education Programs, have sufficient planning time, and work in schools with collaborative models are more likely to adopt inclusive approaches to pedagogy and curriculum. [ABSTRACT FROM AUTHOR]

In this article, we, as Asian American visual arts and social studies educators, propose an Asian American Critical Pedagogy framework and its four principles. Building on critical race and social theories and pedagogies, we developed the four principles: Asian American critical consciousness, counternarratives and reclamation, heterogeneity and intersectionality, and joy and wellness. The four principles are the outcome of our collective theoretical exploration, autobiographical reflection, and the analysis of contemporary Asian American artists and their works. We hope the principles serve as a theoretical framework for future research and pedagogical exploration to recognize and expand the authentic voices and experiences of Asian American art educators and students and to offer insights for intersectional research with other marginalized communities. [ABSTRACT FROM AUTHOR]

The authors explore ways for art educators to address the functioning of facial detection algorithms and their potential issues through critical race theory (CRT). Topics discussed include the censoring of CRT across the U.S., the significance of biometric data privacy, and examples of algorithms that perpetuate racism.

The author explores the use of advanced digital technology, such as generative artificial intelligence (AI), by art and media educators in teaching visual culture. Topics discussed include the importance of critical thinking in using digital technology in promoting civic engagement in students, and the need for art and media educators to consider the impact of AI on existing inequities and discriminations.

The author reflects on visual culture and the importance of teaching art through a lens of visual culture. Topics discussed include the importance of art education, the relationship between the image and producer, the challenges posed by artificial intelligence to visual culture, and the need for art teachers to consider students' personal, social and cultural histories when teaching through a visual culture lens.

The authors reflect on a project that aims to integrate the STEAM approach effectively with multisensory education and ways in which preservice art teachers can incorporate emerging technologies into their teaching practices. Topics discussed include ways in which STEAM multisensory integration can foster students' cultural understanding and expression of their selves, and how the lessons in the project can contribute to students' comprehension of the STEAM multisensory integration.

The article introduces visual analyses by art teachers of lesbian, gay, bisexual, transgender, queer, Intersex, Asexual, Two Spirit (LGBTQIA2S+) representations in Disney animations as a teaching tool for enhancing critical visual literacy. Topics discussed include role of child-oriented media in understanding power dynamics within visual culture, concept of intersectionality, and representation of LGBTQIA2S+ characters in "Moana," "Zootopia," "Coco," "Encanto" and "Raya and the Last Dragon."

The article explores the transformative potential of integrating philosophical inquiry into art education, emphasizing how this approach encourages students to engage deeply with both art and broader philosophical questions. Topics discussed include the role of philosophical dialogue in art classrooms, particularly its ability to prompt students to question fundamental concepts such as beauty, meaning, and selfhood. It also highlights how artmaking can act as a catalyst for philosophical speculation, with examples such as self-portraiture leading to discussions on the nature of identity.

Multilingual learners' (MLs') access to a rich arts curriculum is often overshadowed by their need to learn English and "core" content. Yet MLs should have equitable access to arts education alongside their monolingual peers. An important avenue for offering this access is teacher preparedness. This study reports on a pilot survey of preK–12 visual arts teachers regarding their beliefs about and practices with MLs in the arts classroom. Survey items from four different scales measuring culturally and linguistically responsive teaching and beliefs were adopted. The responses of 26 teachers illustrated generally positive beliefs, practices, and confidence, but variation among respondents was high. Patterns in the data point to interesting future steps in the work, including the need to examine why teachers who had undergone training on teaching MLs were less confident in their ability to teach this population. [ABSTRACT FROM AUTHOR]

We live in a world of accelerating ecological devastation, where environmental violence is culturally and economically ingrained in dominant human societies. The term "Anthropocene" implies a threshold has been breached, and suggests radical reassessments of prevailing social, economic, political, and educational systems are needed. Some art teacher education programs in the United States deviate from predominant trends by embracing ecological integration and preparing art preservice teachers to implement ecological and environmental art pedagogies. Such "aberrant" programs offer rich sites to explore for methods that might be emulated beyond these singular cases. In this study, we examined how three U.S. art teacher education programs, identified as having high levels of ecological integration, infused ecological and environmental approaches into their course content and teaching methods. Themes included exposure to relational ways of being, entanglements with the land and community, collective productions of ecological integration, and infusion of art teacher educators' multiple identities. [ABSTRACT FROM AUTHOR]

This article serves as an in-practice guide to help teachers facilitate the creation of a dance piece using the five-paragraph essay format to explore themes through motif and manipulation. It is an outline of the process that begins with the selection of a theme and the development of a motif to represent that theme. It compares the development of an introduction, body, and conclusion to the creation of a motif and its manipulations. This is done through a discussion of writing techniques including the use of attention grabbers, transition words, and FRIES (Facts, Reasons, Incidents, Examples, Statistics) and what their counterparts might be in a choreographic work. This article is based on the author's experience as both a high school language arts and dance teacher in a public high school, and it highlights the culminating activity in a high school choreography class. [ABSTRACT FROM AUTHOR]

Collaboration among different teacher profiles is one of the most important factors in meeting the needs of pupils with special needs. In a study of 138 teachers from different regions of Slovenia (57 special education teachers and 85 visual art teachers), we investigated how they collaborate when working with pupils with severe specific learning difficulties and how this collaboration relates to their professional development. The online questionnaire survey found that most participating professionals felt that collaboration was necessary, and 25% had not yet collaborated. Those who have collaborated most often consult informally in hallways and work as a team in expert groups for individualised programmes. The most common team teaching approach is for the visual arts teacher to lead the art class and the special education teacher to assist the teacher by providing support to the pupils with and without learning difficulties. They also see many benefits for the pupils and themselves in this type of collaboration and follow the desirable - positive - side of the S model of professional development. An analysis of the situation in practise can form the basis for recommendations on how to promote professional development in collaboration between these pedagogical professionals. [ABSTRACT FROM AUTHOR]

The article facilitates the journey of color-blind teachers toward antiracist understanding and practices on art teaching in the classroom. Topics discussed include systematic racism, racism within the education system at the level of the school, teacher training, perpetuation by teachers in the classroom, and psychological harm to students, recommendations to counter systemic racism in art education, and implications of integrating art education journal resources into art teachers' curricula.

Meaningful gamification is the use of game elements and play to build engagement and help learners find personal connections in real-world settings. This study examined the impact of meaningful gamification design on preservice teachers' perceptions, performance, and motivation levels within a gamified lesson planning unit. Participants were enrolled in a language arts teacher preparation course at a regional campus over five semesters. Results show meaningful gamification incorporating mastery learning and leveled curriculum created a learning condition where preservice teachers surpassed expectations and felt intrinsically motivated. Challenges to gamification included waiting on feedback and learning within a new format. [ABSTRACT FROM AUTHOR]

This article serves as an introduction to issue number 124 (4). In this issue of Arts Education policy Review, the authors have focused on access, policy, and students who are disadvantaged because of different abilities, poverty, race, class, and other barriers. In addition, the authors represent educators from a cross-section of stakeholders including in-service arts teachers, community engaged therapists, college teacher educators, and schools district administrators. It is hoped that by examining these important topics from the perspective of many stakeholders, we can begin a policy shift toward more equal experiences for all students in the United States. [ABSTRACT FROM AUTHOR]

The aim of this study is to understand the 'photographic selves' – the collective competences and skills required for making, interpreting, and communicating through photographs — that are articulated in the educational framework for future photographers in Russia and Sweden. These are two countries with very different histories in relation to photographic practices. Theories on photography from recent decades have emphasized that digital photography is a different medium from analogue photography. This study seeks to understand whether and how this is addressed in two different cultural contexts, based on interviews with teachers and department heads, combined with written descriptions of courses and educational programs. The material makes visible different ideal photographic practices. One, the most common in both countries, is firmly embedded in the international documentary tradition. Other ways, represented by teachers at a Russian art school for photography, stress a more critical perspective toward established conventions. However, absent at the studied schools are more freer understandings of photography in the wake of digitization. Photography is still framed by the historically anchored indexical relation to the surrounding world and as a fixed object. [ABSTRACT FROM AUTHOR]

Traditional teacher professional development (PD) programs frequently lack sufficient face-to-face preparation time to adequately support the implementation of evidence-based pedagogical strategies in classrooms, with teachers citing insufficient preparedness and training time for new methods. To investigate potentials for online PD methods to effectively address these issues, while increasing sustainability, this study examined teachers in Title-I elementary schools spanning multiple school districts participating in a large-scale online PD certificate program preparing teachers over 10 instructional weeks to implement Next Generation Science Standards (NGSS) (S)cience, (T)echnology, (E)ngineering, (A)rts, (M)ath (STEAM) curricular instruction with goals of increasing teachers' science content knowledge, self-efficacy to implement STEAM instruction, and STEAM teaching perceptions. Paired sample t-tests indicate teachers' life science content knowledge, self-efficacy, and STEAM perceptions increased significantly after completing the online PD. Multiple regression analyses identified teachers' science content knowledge and STEAM perceptions as statistically significant predictors of teachers' self-efficacy to implement STEAM instructional strategies. Teachers' posttest course evaluations were gleaned, highlighting three emergent themes: learning experience design, modality, and online teacher collaboration. Utilizing a mixed method approach, these qualitative insights corroborated the quantitative trends, describing how specific aspects of the pedagogical learning experience design (LXD) framework operationalized in the online course fostered a practitioner development learning environment, focused on supporting teachers' learning needs. Results suggest practical design implications for sustainably increasing the efficacy of PD through online teacher training developed in conjunction with LXD models for iterative improvement and design of high-quality online instructional PD programs. [ABSTRACT FROM AUTHOR]

Promoting equitable access to the arts may depend on structures that support teachers in integrating arts into core curricula. We describe an arts-integration design that spotlights attention within and beyond one teacher credential program to one arts field–drama–engaging 24 new non-arts teachers across grades and subjects who participated in a drama academy. Our project shines the light on contributions of early-career teachers to generating conceptions derived from immersion in drama and inquiry into classroom practice. We focus on teachers' developing repertoires of drama-based pedagogy (DBP) practices for use among wwdiverse learners, and on engagements in ongoing inquiry and reflective cycles. Drawing upon teachers' reflections and classroom inquiry projects from a multiyear experience, we mapped teachers' drama conceptions and practices in three interactive tiers: foundational, core, and critical literacies. We illustrate themes with teachers' reflections and reports of practice, including a vignette of a Mexican-American/Chicana teacher with children ages 9–10, a number of them native-Spanish speaking emergent bilinguals. The study informs teacher efforts in diverse classrooms to integrate and sustain classroom drama. Drawing upon insights and themes from results, we offer policy implications and recommendations for others wishing to design for and learn from innovative drama integration efforts. [ABSTRACT FROM AUTHOR]

This is a comparative study of the indigenization of teacher education art and design curricular in Botswana and Zimbabwe. The study methodology involved a critical review of various policies, art curricular, operational documents and focus group discussions with art and design lecturers in associate teachers' colleges. Results revealed a general gravitation toward African narratives as evidenced in the curricular documents, instructional strategies and examinations. There was, however, a predominance of Western art in the curricular for both countries. The study proposes establishing deliberate equilibrium between Western and African art as well as implementing an eclectic didactical and pedagogical approach which will expose the student to local, regional and the expansive world art. [ABSTRACT FROM AUTHOR]

The article discusses how the Yes, Please! improvisational framework can to cultivate a dynamic experience that reflects the best practices in contemporary art education. Topics include research findings that indicate the ability of teachers and art students to improvise, information on Teaching for Artistic Behavior (TAB) as an improvisational art education pedagogy, and components of the Yes, Please! framework that include scaffolded investigation and emergent curriculum.

The article discusses research which examined five Bitmoji classrooms designed by art educators during the COVID-19 pandemic in 2020. Topics include description of Bitmoji classrooms, containing instructor's avatar and presented using Google Slides, the incorporation the Studio thinking framework, particularly the Studio Habits of Mind, into the content choices of Bitmoji classrooms, and limitations and implications of the research findings.

The article discusses the personal and professional experiences of three art college educators during the COVID-19 pandemic in 2020. Topics include the educators' transition to online instruction, giving particular focus on institutional support and professional development, instructional strategies, and lessons learned and challenges to share with other art educators.

The article discusses anti-Asian racism teaching strategies that art educators may consider in art and visual culture education. Topics explored include the rise in racism experienced by Asians and Asian Americans due to the coronavirus disease 2019 (COVID-19) pandemic, the empowerment of students through engagement in art interventions against racism, and the creation of antiracist memes to reject race-related stereotypes online particularly on social media platforms.

This section presents an interview with Columbia University psychology professor and author Derald Wing Sue. Topics discussed include the need to address racism and microaggressions in the field of education, the types of microaggressions that people of color tend to experience, the way art teachers may benefit from becoming culturally competent, and the educational materials on racial socialization which may be accessed on the American Psychological Association (APA) website.

The article discusses how the coronavirus disease 2019 (COVID-19) pandemic offered art educators opportunities for reflective thinking in communities of practice. Topics explored include the capability of reflective educators to reshape their identity based on their lived experiences, the attributes of students that tend to engage in a community of practice, and the reflective activities designed for teachers such as Letter to Colleagues, Just Three Words, and Gifts From the Field.

The article discusses research which examined the access of art teachers in the U.S. to Internet services during the transition to hybrid and remote teaching due to the coronavirus disease 2019 (COVID-19) pandemic. Topics explored include the software used to analyze the Internet usage experiences of art teachers, the reasons cited for the lack of Internet connectivity such as Internet signal and equipment problems, and the need to compensate both teachers and students for their Internet data.

This article addresses what kind of learning-teaching process should be applied to teach visual culture teaching in the Special Teaching Methods II course given as part of the visual arts teacher education program in Turkey. The study was designed with action research which is, one of the qualitative research methods using a two-step process. The first step was achieved with the participation of 24 preservice art teachers in a state university. In the second step, four volunteers were selected from among the participants of the first step and their process of implementing lesson plans in a visual arts course of a secondary school was examined. Data were obtained from observations, document analysis, and interviews which were then analyzed inductively. This paper focuses on four themes that emerged from the analysis of the data: realize, practice, relate and experience. In the study, it was concluded that preservice teachers develop awareness of how visual culture shapes meaning, shows willingness to raise awareness of society by drawing attention to social problems in their artistic work, and that their lesson plans effectively reflect their achievements regarding visual culture studies. [ABSTRACT FROM AUTHOR]

In the article, the author discusses the concept of art teacher as moral support in The Dreaming Art Studio. Other topics include the qualitative case study in a community-based Saturday Art School program at a Midwestern university campus, the role of art teacher as moral support, and the role of students and teachers in art education settings.

In the article, the author discusses the collaborations between in-service and prospective art teachers during the COVID-19 pandemic in the U.S. Other topics include the dilemma facing teachers on how to conduct practicum courses during the pandemic, the collective storytelling strategy by the teachers in an educational context, and the perspectives of K-5 and 9th-grade art teachers on the topics.

In the article, the author discusses the concept of precarity and the politics of attunement in art teacher preparation. Other topics include the use of documentation and collage in developing practices of attunement, her use of collage as a practice of attunement during her dissertation study, and the school norms that affect the students and teachers.

This article explores the relationship between teachers and policymaking, and in particular a contradiction at its center: Teachers are needed to "people" policy, yet are conventionally named as its objects. As part of a two-year participatory study, fourteen teachers in three schools, including the author, sought to investigate policy problems and transform our relationships to policymaking in the context of our schools. Over the course of this work, we repeatedly confronted a sense of helplessness, originating not simply from the ways we were positioned in discourses of policymaking, but also from difficulties we faced locating ourselves in complex policy systems. At the same time, teachers contested these feelings of helplessness, and this article details the kinds of strategies we drew upon to persist in our policy investigations and call ourselves into new roles. At a time when arts policy researchers, in particular, are calling for greater work and analysis at the local level, this study—which includes the participation of two music teachers working alongside colleagues in their schools—offers implications for the ways arts teachers and researchers can build and support policymaking in our schools. [ABSTRACT FROM AUTHOR]

This section presents an interview with African American abolitionist educator Bettina L. Love. Topics discussed include the life experience which prompted her to earn a career in education, the importance of self-esteem and self-reflection in dealing with challenges involving racism and homophobia, the teaching commitment of educators to children of color, and the strategies which may be considered by art teachers to ensure equity and diversity in the classroom.

The article discusses the development and presentation of Museo Me Vale or mobile art spaces for art education. Topics explored include the framing of Museo Me Vale through the ideological space concept of nepantla, the initial development of the migratory art methodology for preservice art teachers that live in U.S.-Mexico borderlands, and the teaching activities which may be considered for student collaborative groups.

The article discusses the integration of collaborative autoethnographic methods in contemporary art education practices. Topics explored include the problems commonly associated with contemporary education practices for preservice art teachers, the big ideas acknowledged in curriculum planning which consists of ritual, structure, and communication, and the interdisciplinary ideas promoted by contemporary artists and noted in the art education curriculum.