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The rise of online arts education content delivery has created challenges for arts educators in Initial Teacher Preparation (ITP). Consequently, educators in various arts disciplines across Australia have been regularly meeting online to share, explore and experiment with ITP arts learning practices with the aim of establishing authentic learning and assessment. However, as Eisner reminds us, one must first be an artist if we wish to develop aesthetic dispositions, creativity, and artistry within our teachers and their students. We thus considered our arts ITP teaching from an a/r/tographic perspective, interconnecting the work of each of us as artist, teacher, and researcher and their intersections. This paper shares the processes and theorizations of our two-year a/r/tographic inquiry. It reveals the potential for collective a/r/tographic inquiry as not only a valuable means of engaging in educational research for initial teacher preparation, but as bespoke online pedagogical practice for meaningful arts praxis.

Opera is considered a significant part of cultural heritage in many societies. In the South African context, opera has a rich history and has contributed to the development of various art forms. Opera has continued to play a significant role in preserving and promoting cultural diversity in South Africa. Opera production contribute to the economy by creating jobs for artists, musicians, technicians, and other professionals. Additionally, opera events can attract tourism and boost local economies. Public funding for opera may be seen as an investment with economic returns. The purpose of this article is to examine the funding of opera in South Africa against the backdrop of a changing cultural landscape. It aims to investigate whether opera should continue to receive funding or if it should be accepted as a fading cultural form. Employing a qualitative approach, ten participants, including opera company managers and artists, share their perspectives through semi-structured interviews. Colaizzi's phenomenological data analysis method reveals key themes of financial viability, challenges, and opportunities. Findings were presented in themes and supported by quotes from research participants. Opera company managers and artists shared valuable insights into financial viability, challenges, and opportunities. Strategic collaborations, revenue diversification, and the pivotal role of public funding emerged as central themes. The findings shed light on the adaptive measures undertaken by stakeholders in response to the changing cultural and financial climate. The conclusion synthesises the key findings, emphasising the resilience of South African opera in the face of funding challenges. It underscores the importance of balancing financial support and cultural acceptance for sustained vitality. The study contributes to ongoing discussions on the intersection of funding, cultural relevance, and the future of opera in South Africa.

In the wake of collective trauma and tragedy, artists may be called upon as "second responders" to facilitate healing and grief for a community. In this article, we explain the artists-as-second-responders discourse, including the messaging of artists feeling useful, art as diversion, and art as healing. Then, using an example of student-artists compelled to make sure "the show must go on" at Michigan State University in the days after a mass school shooting, we critique the second-responder discourse by arguing that such messaging may cause more harm to artists and facilitate problematic escapism. We also challenge the "call to serve" and offer recommendations for how, on days after, institutions can respond in more trauma-informed and supportive ways. In doing so, we argue that, in fact, the show must not always go on.

Anhui Phoenix Painting Art explores the intersection of traditional art with digital innovation to enhance education literacy. The study's objective is to investigate the impact of digital innovation in Anhui Phoenix Painting Art on education literacy in the new era. The research content includes a literature review on semiotic theory, cultural identity theory, and digital design theory, highlighting their relevance to the study. The research site encompasses Chuzhou City, Anhui Province, known for its rich history of Phoenix painting art dating back over 600 years. Key informants for the study include artists, educators, and digital media experts familiar with Anhui Phoenix Painting Art. Data analysis involves a combination of qualitative methods such as field surveys, expert interviews, and image composition analysis, along with quantitative methods like questionnaires and data visualization tools. The research results indicate advancements in digital innovation and information integration, enhancing education literacy and cultural preservation. The study suggests continued collaboration between traditional artists and digital technology experts to revitalize folk art forms like Anhui Phoenix Painting and bridge the gap between tradition and modernity.

This article documents weaving as a decolonizing epistemic tool for feminist futures that emerges from the work of our collective -- the Feminist Imaginary Research Network. As a collective of feminist adult educators who work in both the academy and women's museums, weaving challenges the centrality of rationality over other ways of knowing and being. Following the teachings of Indigenous women thinkers and artists, including the work of some of our members, we frame weaving as an epistemic tool and aesthetic language for future-making. Weaving acts upon us as a mirror of our history, as an antidote against the supremacy of rationality, and as a tool for collective projects of transformation. As a decolonizing tool, weaving gathers us around Indigenous women's traditional knowledge, but also confronts us with the question of our obligations when the teachings of weaving have been offered to us -- what is our responsibility to the work, to each other, and to this emergent knowledge?

Feminist Imaginaries are psychological and social spaces where creative possibilities are overflowing. They facilitate new ways of being, new ways of knowing and new ways of knowledge creation. This paper embraces a decolonial and feminist approach to storytelling, remembering, reclaiming and retelling; telling the stories of a band of wandering women, journeying to the psychosocial spaces of the Imaginary. Drawing upon a feminist theoretical tapestry, creative writing methods and autoethnographic approaches, the story is an example of the possibilities for Feminist Imaginaries in academic research. Many female students I have encountered naively believe they have social justice and equality but the inequalities are hidden in low paid, part-time work and unpaid care. To explore patriarchy's deceptive nature, reference is made to the canons of Western art and literature as spaces from which to depart. It is from this space and time of departure that our journeys to the Imaginaries begin. Our lived experiences as artists as educators makes our activism all the more urgent to care for racialised, working class and disabled students. Those experiences are illustrated in poetry and visually in an artwork created to accompany this paper entitled, "Remember, shout her name, tell her-story." Furthermore, creative writing is a form of the Imaginary and is used to tell this tale. I suggest, by borrowing from Laurel Richardson, creative writing is a method of inquiry to learn about ourselves and our research. By writing into the topic, rather than reading around and then writing, the imagination can wander and wonder freely. I include a small demonstration of how this process might be performed. In this way the story is open-ended, to be continued, as so too the fight for social and gender justice must continue. Accordingly, I invite you, the reader, to remember your stories, reclaim, imagine them, document and share them.

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 study delves into the intricate tapestry of Jiarong Tibetan embroidery, exploring its historical development, cultural significance, and educational implications in heritage preservation and sustainable practices. The primary objective of this study was to investigate the historical development and literacy of Jiarong Tibetan Embroidery in education. Conducted in Xiaojin County, known for its cultural significance in Tibetan embroidery, the research employed a multidimensional approach, including a literature review, interviews with key informants such as cultural experts and artisans, and thematic analysis of data collected through surveys, observations, and focus-group discussions. The research uncovered profound insights into the origins of Jiarong Tibetan embroidery, its cultural symbolism, educational pedagogy, market dynamics, and strategies for sustainable development. Based on these findings, the study suggests collaborative efforts among stakeholders to integrate heritage education, promote cultural literacy, and preserve traditional crafts like Jiarong Tibetan embroidery in the face of modern challenges.

One of the two primary skills that are expected of teachers in Quebec is to act as cultural facilitators. This skill is also required for artists who work with teachers and students in cultural activities. However, many teachers and artists feel incompetent in this area. To address this issue, we conducted an action research project to support the cultural competence of teachers and artists through aesthetic education, an approach that aims to promote education in and through the arts. The study involved eight participants, including two teachers and six artists, and aimed to explore how aesthetic education could enhance their professional practice. We gathered data from semi-structured interviews, meeting minutes, logbooks, and activities created by the participants. A qualitative interpretive approach was applied to analyze the collected data. The findings indicate that aesthetic education confirmed and improved their existing practice. They also emphasized the importance of providing experimentation opportunities, time, and guidance to support the cultural competence of both teachers and artists.

This article presents a study on the development of art environments for young talented artists across 4 municipalities in the western part of Jutland, Denmark. Within this context and based on systems thinking, neosystems thinking and a holistic ecological approach to talent development, the researchers identify and describe three transcontextual art talent environments (Off-Track, Film, Show-up). Based on the neo-systemic concepts of symmathesy (Together-learning), the pivotal point in this study, was to identify organizational markers in the development of a strong talent infrastructure across the municipalities. This to enable and cultivate the artistic potential of young people. The research question of the study was: "Which organizational markers cultivate the development of art talent environments in the context of four Danish municipalities in the western part of Jutland?" The study is based on interviews with seven different public servants from different municipalities in the western part of Jutland and build on a prior research regarding young artists within different artistic fields and their instructors. Through a generic thematic analysis, four organizational markers were identified (organizing, strategizing, license to operate, and creative places). The paper argues that an orientation towards environments as a symmathesy and towards organizational markers can help organizations improve artistic talent environments across municipalities. Further, the role of public servants as talent stewards is discussed in the discussion.

The study focuses on the preservation and transmission of Gannan Tea Picking Opera knowledge after the Cultural Revolution in 1949 using qualitative research methods such as interviews and observations with seven key informants. The following findings were obtained, which can be divided into three distinct periods: The tortuous development phase from 1949 to 1966 marked significant growth and development, with the establishment of specialized schools and the implementation of the "three reforms" contributing to knowledge transmission and preservation. The survival dilemma period from 1966 to 1976 during the Cultural Revolution imposed constraints on artistic expression, but the return of artists from rural areas and their role in recruiting apprentices supported the continuity of Gannan Tea Picking Opera. Finally, the Ganzhou Gannan Tea Picking Opera Troupe and educational institutions contributed to the revival of this traditional art form during the period of rebirth from 1976 to 2023. Retired artists continue to play a vital role in knowledge preservation and dissemination, reflecting the enduring resilience of Gannan Tea Picking Opera.

Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian's installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of artistic expression, the impact on education, and the integration of new media in urban commercial spaces. The research site primarily focuses on Dalian's cultural and commercial landscapes, with a spotlight on the Xiongdong Street project. The study employs a qualitative research methodology, combining field research, interviews, multimedia elements, and data analysis to offer comprehensive insights into the subject matter. Key informants include artists, scholars, and experts within the field of installation art. The research results reveal the dynamic evolution of Dalian's installation art, its educational significance, and its integration into urban commercial spaces. The study suggests that immersive new media art has the potential to enrich art education, engage the public, and foster cultural and commercial development.

This paper explored the relationship between graffiti arts and civic education among young people in Nigeria. A mixed methods approach was employed to generate and synthesize empirical data. The study was guided by Barbara Rogoff's social constructivism theory. Findings indicated that graffiti arts and artists were present in Nigeria, driven by desires for self-expression, financial gain, and training opportunities sponsored by NGOs for up-and-coming artists. Writing styles varied, but drawing, mural painting, and styles uniquely African remained dominant. Despite the difficulty of acceptance of graffiti as an art form due to its earlier association with transgressive activities, its engagement as a method for emancipatory, participatory, cultural literacy, dialectical relations, and creative learning tools in both formal and informal settings demonstrated its educational-supportive capacity for young adults. The values that graffiti express can help reorient young adults in their thinking and social agency. To this end, this paper recommends rethinking the way we view and relate to graffiti arts and writers; incorporating graffiti art education into school curriculum reforms in Nigeria; and using an interactive approach, including new media, to understanding graffiti art produced and displayed by young adults.

Dance is an essential cultural product often overlooked in curriculum and lesson design in favor of sports, literature, visual arts, music, and other products from the target language culture. Given the similarities between the national standards for dance and for learning languages, movement and dance activities merit a greater role in world language classes. The author, a high school Spanish teacher and professional dancer, presents a continuum of approaches for incorporating movement-based activities into the classroom and describes specific activities that teachers can adapt for their classes, even without formal dance training or professional dance experience.

This study investigates the relation between Viola Spolin's methodology of theatrical education and Konstantin Stanislavski's. It elucidates major similarities and diff erences between Spolin's theater games and Stanislavski's system in more detail than previous research. This investigation belongs to a research project on the origins of Spolin's games, which have been widely adopted in contemporary education. The present study reveals that Spolin shared several essential ideas with Stanislavski: the application of improvisation to theatrical training, the objection to director-centered production, the emphasis on intuition and spontaneity in the creative process, the evocative function of the theatrical situation/circumstances, the value of emotion and memory for creation, and the concept of energy exchange in theatrical communication. In addition, she introduced several games highly similar to the exercises in Stanislavski's system, for example, Exposure, Space Objects, Gibberish, and No Motion Warm-Up. Spolin presumably adopted, directly or indirectly, at least some of the key concepts and exercises from Stanislavski's theatrical works. However, she refused some aspects of Stanislavski's system: the teacher's privilege of approval/disapproval, the strong emphasis on imagination, the psychological view of emotion and memory, and the inhibition of direct communication between actors and the audience. Instead, Spolin developed several unique ideas for theatrical education, for instance, teachers as fellow players, contact as a way to get out into the theatrical environment, body memory as opposed to mental retention, and audience members as fellow players. The results of this study thus provide the insight that Stanislavski's system had a more profound influence, whether as a positive or negative model, on Spolin's theory and practice than as illustrated by previous studies. In this way, the present study casts light upon a significant phase of the history of theatrical methods in education and contributes to a better understanding of the characteristics and underlying philosophy of theater games.

This study use the qualitative research approach to collect a vast quantity of data via field inquiry and to classify and statistically analyze the data acquired. The objectives were to 1) examine the contemporary state of Qin'an Xiaoqu singing. 2) Analyze the inheritance of Qin'an Xiaoqu's singing. The study's findings are as follows: 1) The current status of Qin'an Xiaoqu. With the utmost attention of the Qin'an County People's Government. Since the 1980s, Qin'an Xiaoqu has gradually expanded to the important stages of counties, cities, provinces, and the nation. Based on the accomplishments listed above, Qin'an Xiaoqu's development is relatively positive. According to the artist interviews, the majority are affected by others around them. 2) Qin'an Xiaoqu's inheritance status extends to various middle schools and elementary schools in Qin'an. Most students can sing adequately. Currently, the Qin'an County Government and the Qin'an County Cultural Center are hosting the "Intangible Cultural Heritage" event with the intention of fostering a strong environment in which the entire community can participate, pay attention to, and preserve and pass on excellent traditional culture.

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

This article examines three picture books: "The Dot" (2003) by Peter H. Reynolds, "Art & Max" (2010) by David Weisner (2010), and "The Shape Game" (2003) by Anthony Browne, to see how ideas about creativity are conceived of and pictured for children. Various ideas about creativity and the creative process are encoded in these multimodal texts: the idea of a creative genius putting their unique stamp or signature on the world, the idea of an apprentice artist learning to use the tools of the trade, and the idea of the artist as a playful manipulator of cultural signs. Each of these picture book encodings of creativity has implications for a classroom pedagogy that seeks to encourage creativity and nurture quality creative output.

The study's objectives were to develop a local curriculum for teaching Korat songs in Thailand as well as evaluate and certify that curriculum. Questionnaires, observation forms, interview forms, and evaluation forms were used as study tools. The data will be analyzed for research purposes. The results of the research were presented descriptively, analytically, and statistically. According to the results of the study, the local curriculum development for Korat song consists of two steps: basic fact research and analysis, and curriculum creation and certification. Course content includes the background of Korat songs, the legend of Korat songs, various aspects of the Korat song, resources for studying Korat songs, distinct dialects, succeeding artists, melody singing, and playing and singing Korat songs. The outcomes of the local curriculum evaluation for Korat songs According to the agreement of nine experts, the distinctive Korat songs of the Korat people were important for their participation in education management in the current period and to increase the next generation's knowledge of Korat songs, whether in the province or elsewhere in the province. The evaluation results were suitable to an extremely reasonable extent. The mean is 4.42 and is usable for practical reasons.

This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce's (1991) sign modes showed the student artists' preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos' resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists' choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.

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.

Chinese Tujia folk songs, deeply rooted in the cultural heritage of the Tujia ethnic group, serve as a living repository of history, values, and traditions. The primary objective of this study is to investigate the historical development of education and cultural literacy in Chinese Tujia working songs in Chongqing. The comprehensive literature review provides insights into the history of the Tujia ethnic group, their musical heritage, and contemporary challenges to preserving their cultural traditions. The research site includes Youyang Tujia and Miao Autonomous County, Shizhu Tujia Autonomous County, Pengshui Tujia, and Miao Autonomous County, and Qianjiang District. Key informants, including accomplished artists, academic researchers, and local experts, share their invaluable insights related to the preservation and performance of Tujia folk songs. By using the principles of music aesthetics, music ethnology, and ancient Chinese music history. The result of this study underscores the critical importance of preserving intangible cultural heritage, especially in the context of today's rapid modernization and globalization. They highlight those traditional folk songs, like Chinese Tujia working songs, hold immense cultural and historical value. The study also provides actionable recommendations for ensuring the continued vitality of these culturally rich songs. These suggestions can guide efforts to integrate Tujia folk songs into educational curricula, support local musicians and artists, and promote cultural events.

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 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.

This study aimed to explore the magazines and topics that female college students like to read, and the topics that senior and junior high school reading textbooks contain. Findings of questionnaire-surveys with female college students at King Saud University revealed that 77% of the students read women's magazines; 77% like to read about fashion and make-up; 66% read articles about movies, singers, and actors; 24% read poetry; 1-4% read religious, educational, literary, political, computer and internet, and historical articles. Analysis of the reading schoolbooks showed that 10% of the reading texts are devoted to Quranic verses and Prophet Mohammed's Hadiths; 29% are about Islamic history; 13% focus on general topics, and 11% deal with classical literature. It can be concluded that female college students like to read magazines and topics that prevail in satellite T.V. broadcasting and social media such as Instagram. Both magazines and satellite T.V. shows marginalize young people's local culture and distract them from vital social, and political issues. There is a discrepancy between the types of topics students read at school and those they like to read at home. Therefore, this study recommends that reading texts in the school textbooks be re-selected, re-constructed and re-designed in terms of layout, colors, pictures, paper quality, and choosing an attractive cover. It also recommends the utilization of online courses, blogs, mind-mapping software, mobile reading apps and audiobooks, digital reading, global topics and global culture, speed reading practice, and reading from multiple resources. High school and college students should be introduced to new books, magazines, and e-books. Extensive reading of serious topics should be started from the primary grades; reading texts should be diversified; developing students' appreciation skills and visiting book fairs, public libraries, publishing houses, cultural centers should be emphasized as well.

The purpose of this paper is to better understand how emerging artists use information to navigate the transition out of university, using their changing ideas of failure, success, information literacy (IL), and transition to frame the qualitative data. A literature review is used to frame the current understanding of emerging artists and feed into the creation of the interview questions. Four emerging artists participated to elicit qualitative accounts. Descriptive and process coding was used to analyse the interviews to form the findings. The findings present how emerging artists use information to shape their criteria for success and failure during the transitional period after leaving art school education. Three core information practices -- sharing, feeding, and balancing -- were observed within the interviews. With this framing insights into the emerging artists' past (learning from historic failings) and the future (envisioning future success) begin to be formed. Furthermore, this paper contributes to the knowledge of emerging artists' information practices, including the impact of their digital media usage and self-referencing as IL. The study uses the work of other IL scholars with the information practices of emerging artists and frames them through three key ideas: IL, transition, and success and failure. This intersection of study has not been explored previously. The results will provide direction for information professionals serving emerging artists, and for art educators preparing their students for their careers outside of university. It also deepens the understanding of the field of transition and information practices of new practitioners across fields.

The book, "Creating Third Spaces of Learning for Post-Capitalism: Lessons from Educators, Artists and Activists" seeks to explore counter-hegemonic social spaces, or what some call third spaces (Anzaldua, 1987/2021; Bhabha, 1994/2002; Soja, 1996) that have been created largely by social, community and artistic activists to prefigure a post-capitalist, multi-racial democracy. Third spaces are ideally sensitive to the ways that various forms of oppression are intersectional. This means that if they prefigure a post-capitalist society, then they must also strive to be post-patriarchal, post-racist, post-homophobic and transphobic, as well as raising awareness about the global environmental crisis. While many groups foregrounded issues of race, ethnicity and class, they also integrated programs to raise awareness around gender, disability, and sexual orientation. In this article, Carol Anne Spreen describes her study on third spaces, including the characteristics they commonly share.

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

In this article, the authors examine their collaboration on a joint ELA-art-mindfulness project before and during the COVID-19 pandemic. The following chronicles the impact of the pandemic on the project and on student engagement, key takeaways from teaching and collaborating during a virtual school year, and the implementation of said takeaways as school returned to in-person instruction. The authors also reflect on their university-school-community partnership and plans for future collaboration.

This paper draws on a three-year inquiry, in which I lived alongside three trans young adults amid their unfolding lives. I used narrative inquiry, a relational methodology that holds relationship central, to explore asset-building processes within relational learning. This article showcases participants' use of artworks, stories, and counterstories to understand experiences and engage communities. Additionally, this study highlights how trans young adults transform their identities at the intersections of race, citizenship, ableism, and health. This research demonstrates the complexity of trans: identity formation; intersectional tensions, and creative possibilities; and, performativity of intersectionality and identities across multiple communities' spaces and places.

The research aimed to 1) study the needs in developing indigenous history for diversity students in Northern Thailand, 2) develop indigenous history learning resources for diversity students in Northern Thailand through area-based participatory action learning of social studies pre-service teachers, and 3) distill learned lessons obtained from developing indigenous history learning resources through area-based participatory action learning of social studies pre-service teachers for diversity students in Northern Thailand. The methodology of the research was based on Participatory Action Research (PAR). The sample in the research consisted of 1) community leaders, monks, school administrators, folk philosophers, and youth representatives accounting for 22 people; 2) 10 social studies pre-service teachers; 3) 8 indigenous mural painters, making a total of 40 people. The instruments used in the research were 1) unstructured interview forms, 2) forms of synthesizing knowledge to moral creativity, 3) validity assessment forms of indigenous history data, and 4) focus group discussion recording forms. Qualitative data was analyzed based on content analysis and the presentation was in the form of descriptive analysis. Study results revealed that: 1) From the area-based action on the legend of Viang Malika and Phra Nang Malika from history in the educational sandbox of Chiang Mai province, it was found that the community has demand in terms of developing learning resources telling its indigenous history through the temple which is the common area in the community. The demand is to present indigenous history which is part of the historical development of the Lanna Kingdom in terms of business, politics, administration, education, religions, and the environment including women's roles as governesses or kings. This shows feminist concepts appearing on the page of indigenous history and reflects equality in stepping over physical limitations of the body (disability). The frame limiting gender is destroyed through the history of leaders and kings in indigenous history has influenced the development of the history of the historical development of the Thai local society up to the present time. 2) Developing indigenous history learning resources through area-based participatory action learning of social studies pre-service teachers for diverse students in Northern Thailand has brought about indigenous history learning resources integrating cooperation between universities, communities, temples, and schools. Indigenous history learning resources have been brought about, which helps promote quality learning management. And 3) From distilling learned lessons obtained from developing indigenous history learning resources through area-based participatory action learning of social studies pre-service teachers for diversity students in Northern Thailand, the important social studies competency of social studies pre-service teachers for 4 aspects were found. This is called the competency of area-based social studies learning or so-called "VCAP" consisting of 1) Value Domain, 2) Cognitive Domain 3) Affective Domain and 4) Psychomotor Domain, which helps promote occupational competency of pre-service teachers to be more efficient.

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

The purpose of this article is to share how two friends approach creativity in their professional lives in research and in the arts, and what we have learned through insights into places that impact this work. Our different approaches are reflected in our positionalities: one author is an emerging arts-informed researcher and university instructor, and the other author is a practising fine arts craftsperson and part-time faculty member. Our close friendship and ongoing conversations serve to connect our approaches to working with the arts, even as our attitudes to creativity and learning are demarcated. Relayed in the form of dialogue in response to guiding questions, this article is an expansive discussion of what work in the arts can look like, and how the interplay of creativity and place afford as-yet-untapped pathways of understanding that better suit contemporary conditions of life and study.

This critical content analysis examines representations of rural life in a sample of 52 picture books by Indigenous and non-Indigenous authors and illustrators. While the United States and Canadian governments use quantitative measures to designate rurality, in this study rurality is conceptualized more broadly as an interaction between geographical, cultural, and social characteristics. Three sets of findings about the representation of rural people in Indigenous and non-Indigenous picture books are offered: the representation of human-to-human relationships, the relationships between people and the natural world, and the problems and challenges faced by rural people in the books. While there is increasing attention within children's literature scholarship about the importance of culturally relevant picture books and representations of diversity, less is understood about representations of rurality in children's literature and still less is known about textual representations that engage the intersection of rurality and minoritized groups such as Indigenous peoples.

Play is a universal human experience. Often regarded as the unique purview of children, an emerging body of research points to the importance of playfulness in adulthood. This article reports on the research and observations of two teaching artists working in Connected, a Sydney Theatre Company adult-literacy-through-drama programme. This article conceptualises the drama room as a liminal space. Through improvisational responses participants engage in a learning style that promotes playfulness, which subsequently generates a sense of pleasure and joy and, in doing so, has an intrinsic value beyond the specific language learning outcomes. In this article we build on Guitard et al.'s (2005) components of playfulness in adults: creativity, curiosity, pleasure, sense of humour and spontaneity, in order to posit our own ideas about the conditions necessary for encouraging the freedom to play in adult language learning contexts.

Art is a special tool for mathematics education. Many artists have used mathematics and geometry in their artworks. This study aims to examine M.C. Escher's drawings with creative drama in the light of transformation geometry. In this study, the explanatory sequential was chosen from the mixed-method designs. Quantitative data of the study were collected with the Geometry Attitude Scale (GAS). Qualitative data were collected with the Workshop Evaluation Form, the Academic Achievement Measurement Form (AAMF), and semistructured interviews. The study group consisted of 21 volunteer participants. The data obtained from GAS were analyzed with SPSS and qualitative data were analyzed using descriptive and content analysis. Participants' GAS scores differed significantly after the implementation. Regarding both quantitative and qualitative analysis obtained from this study, which consisted of 8 workshops in total, an increase was observed in participants' attitudes towards geometry after participating in the workshop.

This research paper aims to explore a potential model for speaking through which consists of: (a) strategies of using art as a medium for learning English; (b) challenges to use art as a medium for learning English. This qualitative case study uses semi-structured interviews and observation in three schools of South Sulawesi. Data were analyzed through thematic analysis approach. The findings show that there were four strategies of using art as a medium for learning English, namely: (a) using art to learn vocabulary; (b) using art to learn grammar; (c) employing art as a medium for learning process simple writing and; (d) using art as a medium for speaking. In addition, the challenges they face include linguistic and practical challenges. The findings of this study extend the debates of learning English through art media. The implication of this study is that using art as a medium for learning English can be a model for EFL in similar contexts.

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

This article urges a reconsideration of professional responsibility in arts education, moving beyond an emphasis on narrow technical expertise and strict disciplinary boundaries in order to respond to the needs of complex late modern society. We reconsider 'professionalism' in arts education as a site of struggle that requires 'systems reflexivity' to engage in the transformation of wider society. By presenting three cases, conceptualised as social innovations in the arts education system in Finland, we illustrate how multi-professional collaboration and systems entrepreneurship, flexible institutional boundary-crossing, and performing social categories in professional education of artists help tackle exclusion and inequalities. We also argue that a degree of activism may be necessary for the field to expand its sense of professional responsibility beyond 'what is' towards 'what could be'.

This article features a creative fabrication project assigned to participants in a short-term education abroad program at a Midwestern state university in the US. The Get-in-Touch assignment merged intercultural research and studio work to enrich and transform participants' travel experience in China. Several aesthetic stances (mimetic, formalistic, and contextualist) were adopted to interpret the three-dimensional projects documented with photocollages and stories in this manuscript. Travel--study provided a dynamic platform that allowed the four participants to manifest intercultural learning outcomes: making the dissimilar similar, making the unfamiliar familiar, making the familiar unfamiliar and making the similar dissimilar. This article further illuminates the aesthetic stances noted above through the work of four contemporary Chinese artists and offers an indirect glimpse into the art school curricula found in higher education in both cultures. The discussion highlights learned lessons of cultural humility.

In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of "lacquerware art craft" in Taiwan. Firstly, based on Bloom's educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a "Lacquerware Art Passing-On Education Framework Diagram". Later, the analysis results of the grounded theory enable us to summarize the "Lacquerware art value and learning structure diagram". In this structure, it reveals that the Lacquerware artist's way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.

In this essay, we center hip-hop culture and Black cultural legacies. We envision and offer a two-fold framework which illuminates the intersection between the two. We explore ways that the Black cultural experience (or better yet Black cultural praxis) has always brilliantly and organically demonstrated the shape and form of a scholarship of consequence. Black cultural praxis, or reflective action with a Black emancipatory influence, has always allowed freedom of movement, freedom of body, freedom of tongue, and freedom of voice. We translate what this cultural praxis teaches and urges regarding the transformation, unbinding, and freeing of both educators and educational spaces. We demonstrate how the intersection of hip-hop culture and Black cultural legacies can be instructive and transformative to educators. We invite educators to reimagine their classroom spaces by not only focusing on learning "about" hip hop but "from" it as well.

"Systemic racism" implies that racist policies are embedded in laws and institutions. That claim is patently false as evidenced by Americans having elected a biracial president for two terms and, more recently, a biracial vice president--not to mention blacks serving in the cabinet, in the highest ranks of the armed services, and in various other prominent positions, both public and private. The truth is that the only systemic racism that exists today is in the form of affirmative action measures "favoring" blacks, among other presumably disadvantaged groups. In this article, the author examines how "systemic racism" has effected Art Education.

Purpose: During the contemporary art lesson, it is important to have trainee teachers who are worthy individuals with an artist identity in society, experience education that makes them ask questions and think in life. In this research, the aim was to explain as meaning or information, how all the participants experience the interdisciplinary situation in contemporary art instruction. Method: This research was structured with qualitative research techniques and phenomenological design. The participants of the study were 13 students who follow the lesson consistently, the instructor of the lesson, and four guest instructors from various fields. To clarify the phenomenon, in addition to reviews, observation data, and various documents related to the lesson were collected and thus a variety of data was obtained. All the acquired data were analyzed with the thematic analysis method. Findings: After analyzing the data, four distinct categories emerged under the main category of Selecting and Organizing the Content. These are Key Concepts, Chronology Identification, Milestones, and Interdisciplinarity. Implications for Research and Practice: According to the outcomes, it can be said that the interdisciplinarity content organizing approach includes some fundamental characteristic qualities. The content of the contemporary art lesson has a body that includes the knowledge of various fields, multiculturality, one hundred-broad and milestones, and a complex and paradoxical knowledge structure including modern and postmodern perspectives. The instructor converted the knowledge into interdisciplinary content by including various experts from various disciplines as a disciplinarian and utilizing an integrated content approach during the contemporary art lesson.