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Wellbeing education (WE) is increasingly offered among secondary schools internationally to promote the physical, social, emotional and mental health of young people. Current and emerging evidence proposes that scope exists for the enhancement of universal WE, and that arts-based approaches have significant potential for school programmes in enhancing the effectiveness of WE. This sits alongside a growing body of international literature that connects arts engagement with positive mental wellbeing across age groups. Existing research also shows that the evaluation of the goals, pedagogy and student engagement within WE from the perspectives of teachers is uncommon. To this end, this qualitative research investigated teacher perspectives on the potential for arts-based WE. Through an asynchronous group interview, 10 Australian secondary school arts teachers with expertise in a variety of visual and performing arts education reflected on current WE in light of their arts teaching practice, exploring possibilities for enhancement through art-based practices. Thematic analysis using a socio-ecological framework reveals strong support for arts-based WE, noting positive potential for arts engagement to facilitate increased teacher and student autonomy, relationship building, safe and inclusive environments, and enjoyable, embodied learning within WE.

H ow can we integrate art and social studies to advance art teacher education for social justice? This question has guided our collaborative journey as teacher educators at the same institution. At a public university in the southern United States, the first author is an art teacher educator, and the second author is a social studies teacher educator. We share a commitment to teacher education for social justice. Since fall 2022, we have collaborated to explore the pedagogical value of arts--social studies integration to empower preservice teachers as social justice teachers.

This text aims to revisit a practice developed in a course on art education within the Ph.D. programme in Arts Education at the Faculty of Fine Arts, University of Porto. We approached this space through the construction of a workbook that was practised during classes. The exercises aimed to reflect on the positionality we occupy and on art education as a field of practice/research built on several colonialities. The idea of theory as a practice enacted through questioning, displacements, staying in research and getting to know the archives we inhabit framed the work carried out. The text is an exercise in revisiting the workbook, activating it now through reading and outside the group of participants to which it was made. It is not linear in the sense of recounting the experience; rather, it seeks to blend today's writing with the exercises drawn from that workbook.

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

Postmodernism emerged as a movement that opposed the dominant views of modernism in the field of art. Postmodernism, which originated in architecture and gradually influenced many areas of art, is discussed in this study with a focus on painting and visual arts education. In high school programs in Turkey, it is important for students to be able to examine the past, embrace the present, the era, and the postmodern way of thinking. When the relevant literature was reviewed, it was determined that there is no research on how postmodernism is used in art education in terms of student learning outcomes. The aim of this research is to determine how high school visual arts teachers incorporate the postmodernism movement into their teaching and to identify any changes in students' interest levels in the course. In this study, a qualitative research method was used, specifically the case study design. The sample of the study consisted of four visual arts teachers who work in one central and three district schools in Yalova province. Two semi-structured interview forms and document analysis were used as data collection tools. The findings were analyzed using thematic analysis. According to the research findings, it was determined that the participating teachers conveyed the artistic and intellectual structure of postmodernism to students through various teaching methods during the lesson process. However, they were unable to achieve all the learning outcomes related to postmodernism. The study also revealed that students demonstrated changes in the methods they preferred to employ in their artwork after learning about postmodernism and being exposed to examples of postmodern art. Moreover, students provided both positive and negative critiques, reflecting their aesthetic perspectives on postmodern artworks. This research is considered important in terms of serving as an example for teachers and contributing to the literature.

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

Just as technology has entered every aspect of our lives today, it has significantly changed the fields of art and graphic design as well. Developing technologies and new teaching approaches have also affected fine arts education and therefore the students studying in this field. The aim of this study is to examine the Technological Pedagogical and Content Knowledge (TPACK) competencies of students studying at the Faculty of Fine Arts. The study, which was conducted with the survey model, was conducted with the participation of 212 students studying at the Faculty of Fine Arts of Necmettin Erbakan University and Selçuk University in the 2022-2023 academic year. According to the findings of the study, the TPACK competencies of the students of the Faculty of Fine Arts are at medium level. The technological knowledge of the participant students differs according to their gender. The technological knowledge of male students was found to be significantly higher. In the study, TPACK competencies of the students showed significant differences according to their grade and achievement levels. Students in 3rd and 4th grades were found to have high TPACK competence compared to students in lower grades. Again, students with high achievement level obtained high TPACK scores compared to their middle and low achieving peers.

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

Over the last four years of my K-12 visual arts teaching career, I faithfully kept visual journals, filling them with stories of my experiences in the classroom. What initially began as an experiment as I searched for a tool to help me navigate new challenges within a public school system, eventually led me to realize that my visual journals were a valuable resource to better understand myself as a teacher, my place within the system, and a resource for resilience. In this article, I use narrative and arts-based approaches to explore the ways I leveraged visual journals as a tool for resilience by integrating humor, fostering a sense of accomplishment and self-efficacy, as well as retaking ownership of my journey to fight back. Through sharing this narrative I hope to illustrate some of the ways visual journals can help arts educators find resilience and strength to resist during challenging times.

Students in the field of painting work long hours and in inappropriate postures. In this qualitative study, it was aimed to evaluate the experience and awareness of art education teacher candidates about performance-based musculoskeletal disorders and their views on preparatory physical exercises. Semi-structured interviews were conducted with 22 senior students studying at Trakya University, Department of Art Education. As a result of the thematic analysis, twelve sub-themes emerged under five major themes (i.e. "Exercise experience", "Physical pains", "Effects of exercise", "Breath awareness/Breath hold, "Spent time"). Complaints of neck, low back pain, and then backache and holding breath are common among art education teacher candidates. More research is needed to raise awareness of musculoskeletal pain of students in the field of painting, as well as to prevent such disorders, and to plan and implement ergonomic processes.

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.

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.

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.

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.

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.

This paper explores the British art patronage scheme "Pictures for Schools," which sold affordable works of art to educational buyers at annual exhibitions between 1947 and 1969, focusing on the work of "Pictures for Schools" founder and organiser Nan Youngman (1906-1995) as an artist, educationalist and activist. It shows that, while social and cultural changes in post-war Britain around the development of the welfare state provided a receptive environment for "Pictures for Schools," it was largely driven by Youngman's personal convictions and experiences. This paper traces the ideological motivations behind "Pictures for Schools" to the interwar period, exploring Youngman's involvement in two progressive organisations, the Artists' International Association (AIA) and the Society for Education through Art (SEA), which enabled her to campaign for progressive art and education. In doing so, it positions "Pictures for Schools" as a socially engaged intervention into the post-war education system in England and society.

The Black Lives Matter movement has momentum, and as art educators in privileged positions to influence future generations of the United States, we have the power and responsibility to carry that energy forward. To accomplish this, two of the first crucial things we could do as educators is reflect (1) on how we are complicit in perpetuating systemic racism with colorblind deficit-oriented perspectives and (2) on how we could shift from deficit-based to asset-based perspectives about our BIPOC students to guide all our students to higher levels of accomplishment. Without these reflections, many art teachers remain colorblind, ignoring race as an influential factor in people's lives. Colorblind assertions of "I do not see color, I only see children" reveal an underlying belief that racism is a matter of individual prejudice. There is an implied rationalization of "I am not racist, so I do not need to change my practices." However, racism is more than individual prejudice. It is systemic, deeply embedded in our educational system -- so deeply embedded that colorblind teachers are often unaware of how they participate in forwarding racism as agents of a system in which a deficit lens is normalized. This article aims to raise this awareness, beginning with a focused reflection on the above two areas. Once they are aware, I hope that teachers will be motivated to deepen their understanding of how racism functions and impacts students, as well as actively invest in reshaping their practices by utilizing the resources suggested.

This article discusses how the authors utilized Disney animations, including "Moana" (Musker, 2016), "Zootopia" (Howard et al., 2016), "Coco" (Unkrich & Molina, 2017), "Encanto" (Howard et al., 2021), and "Raya and the Last Dragon" (Hall et al., 2021), to discuss LGBTQIA2S+ representations and the educational applications of LGBTQIA2S+2-inclusive curriculum with preservice art teachers in educator licensure programs. Fostering the readiness of preservice teachers to teach LGBTQIA2S+ subject matter both theoretically and pedagogically is a significant undertaking for educator licensure programs. One of the greatest challenges is assisting preservice teachers in acquiring strong visual literacy and critical-thinking skills through the practices of decoding and creating LGBTQIA2S+ representations in everyday visual displays, and demonstrating how to integrate queerness with art production. Therefore, the goal was to encourage preservice teachers to proactively identify and address issues related to the neglect of LGBTQIA2S+ topics and explore explicit and implicit representations of LGBTQIA2S+ characters in the selected animations. Additionally, the authors aimed to initiate inclusive conversations in art classes through the creation of visual illustrations. Through this analysis and creation process, preservice art teachers will be better equipped to utilize LGBTQIA2S+ themes in their teaching and establish a welcoming environment for their future students, particularly LGBTQIA2S+ students, to express themselves and celebrate diversity.

This article articulates how a community-based art education (CBAE)-driven theoretical framework can inform and inspire leaders in the field who are in a position to rethink or revitalize the curriculum of an art + design education department. While this framework was specifically developed to invigorate the program the author currently oversees as an outcome of her experience with the 2022 National Art Education Association (NAEA) School for Art Leaders, it can be generalized and applied to other settings with the intent of fully contextualizing meaningful learning for preservice art educators or K-12 students. Further, it can serve as a potential prototype for repositioning art teacher preparation programs as they struggle to meet the changing needs of future educators.

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.

Arts partnerships involving teachers, artists and arts organizations continue to be popular as a means of delivering arts education. Acting as an intermediary between schools and artists, arts brokers can be crucial to the successful implementation of these partnerships. Characterized as individuals who can act as channels for innovative practice, arts brokers can potentially support teachers to take risks, build capacity for reflection and develop agency as arts practitioners. This article examines the role of the Creative Associate -- an arts broker within an Irish arts partnership ("Creative Schools-Scoileanna ldánacha"). Data was collected using semi-structured interviews in a purposive sample of eight Irish primary schools. Using a framework put forward by Sinclair et al., the support provided by the arts broker is critically analyzed. The establishment and development of stakeholder relationships is explored while emerging challenges are debated and discussed. Findings from this study indicated that the success of the arts broker is underpinned by their ability to build and nurture relationships. By 'bridging the gap' between teachers, schools and artists, this article argues that arts brokers can ensure partnerships have a sustained, meaningful impact on the enhancement of arts education in schools.

Despite vital professional development support through the National Art Education Association's Data Visualization Working Group and other scholars' engagement with the topic in the literature, pedagogical literature that connects contemporary data visualization methods to art teaching practices is limited. While acknowledging that many of us have just begun to explore the potential of data visualization as a K-12 art curriculum, in this article we connect conceptualizations of data visualizations for art education practice to curriculum choices. We share our experiences and learning to offer foundational support for K-12 art educators interested in integrating data visualization into their art curriculum.

This article describes the results of the author's doctoral dissertation research in educational leadership. Her quantitative study aimed to explore the relationships between art education, leadership skills, and creativity through research and existing literature. This research is vital because, art educators, use leadership skills to teach creativity in their classrooms, and they need to exercise their leadership skills beyond their classrooms to advocate for their profession. They can promote art education through showcasing student work, conversing with their administration, and engaging with art education organizations that lobby on their behalf.

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.

Written in narrative format and guided by concepts and methods borrowed from intuitive inquiry, a transpersonal and holistic approach to scholarship, the article offers insights into the research process of art teachers who were completing their graduate studies in art education during the pandemic year of 2020-2021. By engaging in an arts-based inquiry that brought them to explore aspects of their inner life, also shedding light on our shared cultural and social conditions, the student-scholars demonstrated the transformative potential of creative investigations as a vehicle for self-knowledge and healing. The article points to the importance of connecting artistic endeavor with transformative learning as both reach beyond cognitive responses to knowledge. Our findings support the vision that self-discovery processes lead to integration and social awareness which informs teaching.

Purpose: Arts-integration is a promising approach to building students' abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR. Design/methodology/approach: The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students. Findings: Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience's perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty). Originality/value: This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

This article explores the idea that teachers, even when aiming to implement culturally and personally relevant pedagogies, are subject to passing on colonial agendas and practices that stultify learning in art classrooms. I argue that even in self-governing, majority non-European societies, well-intentioned teachers can unintentionally perpetuate colonial educational agendas that narrow students' learning, as well as the ideas students deduce about art, culture, and their roles in contributing to them. I focus on Jamaican and Anglo-Caribbean art classrooms, where many teachers and students have non-European lineages and a shared national heritage rooted in slavery and colonialism. I conclude the article by raising implications for how art educators there and elsewhere might avoid unconsciously engaging in neocolonial pedagogies, especially when teaching non-White students whose heritages are rooted in colonial oppression.

The professionalism of artists and further education (FE) teachers is often questioned. This research will evaluate the impact this has on artist-teachers working in FE. Schön defines a professional as an individual who works in a highly specialized occupation. This article examines how this applies to artists and FE teachers, with reference to historical and contemporary cross-disciplinary research. Published research focuses on professionalism in terms of meeting sets of criteria. However, research participants within this study were more concerned with the activities undertaken by artist--teachers and how these reflected their professionalism. The research findings focus on the perceived professionalism of artist-teachers in adult community learning (ACL), a sub-section of FE in the United Kingdom that encompasses adult and community learning delivered to adults aged 19+ but local authorities or general FE colleges.

This article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist-teacher, artist teacher, artist-educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher-led teaching to student-centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

This article is drawn from a 2022 National Art Education Association Convention panel sponsored by the Professional Learning Through Research working group, showcasing various collaborative research projects across multiple divisions in art education (Bain & Vanderlip Taylor, 2022). Collaborative research practices are evolving, moving away from traditional academic scholarly hierarchical structures. This article highlights how three research groups enacted collaborative research: one representing a higher education collaboration, one situated across museums, and one that features a group of graduate art education students. Borim Song and Kyungeun Lim, two higher education professors, describe how their online studio instruction informs and intersects with their collaborative research practice. Next, museum educators Hannah D. Heller, Michelle Antonisse, and Amanda Tobin Ripley explore questions about how Whiteness played out in teaching experiences within their museums. The final group consists of five graduate students who examined the equity, diversity, and inclusion (ED&I) needs of Texas K-12 art teachers, which influenced their development of various ED&I curricular resources.

This ethnographic case study asks how White elementary art educators address cultures other than their own and how race and Whiteness operate in their curriculum work. This research involved three phases, where the researcher moved from observing teachers' multicultural curriculum work to guiding critical reflection, and finally to collaboratively writing a critical curriculum that teachers then enacted. Findings suggest that teachers' sociocultural knowledge shapes their teaching philosophies, often in dysconscious and embodied ways. Findings also suggest the habitus of art education has reinforced the notion of the arts as White property. This ideology was part of art education culture, norms, and behaviors embedded in both the formal and informal curriculum and maintained by the teachers' preservice programs, their colleagues, and district leaders. These findings indicate the need for antiracist art education and mentorship preparing teachers to engage in intentional dialogue about race and identity, critically reflect on their curriculum work, and question the habitus.

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.

The sense of belonging is a complicated topic that is closely connected to one's understanding of identity, culture, and unique life experiences. We organized a one-semester-long workshop series titled "Revisiting Identity, Culture, and Belonging Through Art Making." This article discusses the outcomes of this multi-institutional project facilitated online via Webex to support our undergraduate students, who mainly comprised pre-service teachers. The workshop series focused on two objectives: 1) to address the complexities and multiplicities of identity, culture, and sense of belonging through storytelling from the perspectives of Korean immigrant art educators, and 2) to expand students' understanding of belonging in various contexts in the form of a collaborative project. In this article, we examine what we learned from the Belonging workshops and what our students shared in response to the topics and contents highlighted in the workshops through their reflection papers, discussions, and artworks. We also provide pedagogical suggestions for educators who are interested in incorporating the theme of belonging into their multicultural or cultural diversity lessons.

In this article, the authors share lessons combining visual arts, sound, technology, and science through the lens of soundscape, STEAM, and multisensory education. Focusing on teacher education, this article explores two primary issues. First, it considers how STEAM--multisensory integration fosters students' cultural understanding and expression of selves. Second, it looks at how these types of lessons contribute to students' comprehension of the concept of STEAM-multisensory integration. The conclusion of this article includes a summary of the key findings from the lessons, which offers further insights into soundscape approaches and transdisciplinary methodologies within STEAM--multisensory education.

Reflective practice can guide educators toward enhancing their abilities, comprehension, and expertise, reflecting on their experiences to grow personally, professionally, and academically, thereby elevating the overall standard of their work. This paper aims to narrate the perception, practice, challenges, opportunities, and outcomes of reflective practices among STEAM (Science, Technology, Engineering, Arts, Math) educators in Nepal. Using narrative inquiry, we explored the reflective practice experiences of four STEAM educators, (three female and one male). Interview guidelines were used as a data collection tool to generate the participants' narratives. The guiding theoretical referents for this study were Dewey's theory of experience and Mezirow's transformative learning theory. The findings of this study show that STEAM educators perceived reflective practice as a tool to reflect on their actions, evaluate them, and learn from their experiences. Participants emphasized that teaching is a dynamic job with many challenges; however, reflective practices helped them realize their weaknesses and refine their efforts to create a better learning environment. It also enabled them to shift from traditional pedagogical practices to progressive ones, where learners were empowered through authentic and meaningful engagement in the learning process. Time management was seen as a significant challenge when practicing reflective practices; sometimes, the ego clash demotivated them to reflect on their actions. Despite challenges, participants also accepted that reflective practices allow them to explore and apply new ideas in their profession and transform their practices. Consequently, the perspectives offered in this paper may prove beneficial for other educators in cultivating reflective practitioners.

Implementing curricula that parallel children's cultural histories and language and Ghana Education Service's (GES) approved creative arts resources precipitated the need to review materials listed in the new national creative arts curriculum (2019). This study explores the availability, accessibility, and cultural alignment of creative arts materials and shows how using folk resources serves as an incentive for culturally sustaining resource development in Ghana's music and visual arts education. A semi-structured interview of six creative arts teachers revealed that while teachers use Ghanaian folklore-informed books on the market, schools have infrastructure needs and lack indigenous music instruments and visual arts materials for the new curriculum. Highlighting the quality and availability of folk resources, we recommend optimizing community human and material resources, engaging education research professionals and classroom teachers in dialogue, and monitoring and evaluating school programs.

The COVID-19 pandemic shut down the world and arts education. Performing arts classes across the world were labeled as deadly activities and banned for in-person instruction and experiences in schools and communities for months. Strict mandates were enforced for masking students and social distancing. Restrictions for talking, singing, playing instruments, dancing, touching, ventilation, sharing equipment and resources in visual, performing, and media arts, and group activities associated with arts education were daunting. The arts have been described as a universal language that celebrates and honors culture, diversity, ethnicity, inclusion, and individual authenticity, as well as basic education in the United States. Consequently, the impact of pandemic mandates resulted in social, emotional, and psychological trauma for those affected, as people are born to dance, sing, act, create, make music, and play--individually and collectively. How have arts educators, students, and programs survived with resilience during this unprecedented time in history?

The aim of this study is to explain the case that preservice teachers will enable alternative experiences to today's visual arts education by using alternative ceramic firing techniques. In this study, qualitative research was carried out using a single-case study during the 2018-2019 academic year. Six preservice teachers were chosen using the criteria of having the necessary knowledge and skills for ceramic training and teaching, and for being educated in the Fine Arts Education Department. In the collecting data part of the research, the techniques of alternative firing such as; fumed firing, raku firing, saggar firing, and obvara firing techniques were practised in the context of this study. The main research data were based on the observation data collected through the process of the practices which were conducted by the artist- researcher. In addition to observations, a data set was gathered to understand and describe the case such as; lesson instruction materials, diaries, self-evaluation forms, and product evaluation forms. The data was analysed using a descriptive framework based on art education and teacher training literature. The findings of the study represent seven themes; "Adaptation of learning to school conditions", "Organising practise steps", "Motivation for creative experiences", "Suggestions for professional practices", "Suggestions for problems", "Adaptability to teaching" and "interaction during the teaching process". According to the findings, it can be stated that the alternative firing techniques transformed into alternative ways for teaching processes in visual arts education through this case. Consequently, the discussion topics are as follows: "Alternatives motivate creative experience"; "Adapting the alternatives to school conditions"; "Organising steps for alternative practises"; Transferring alternative experiences to professional lives".

The National Art Education Association (NAEA) launched the Connected Arts Networks (CAN) initiative in September 2022. CAN is a collaborative effort among the NAEA, the National Dance Education Organization (NDEO) and other esteemed partners, including the Educational Theater Association (EdTA), the National Association for Music Education (NAfME), and the New York City Department of Education's Arts Office. Funded by an $8 million grant from the U.S. Department of Education, CAN aims to establish virtual Professional Learning Communities (PLCs) nationwide. The objective is to create a sustainable model for professional learning among arts educators in public schools and public charter schools with a focus on equity, diversity, and inclusion (ED&I) and social-emotional learning (SEL). Accordingly, CAN empowers dance, music, theater, visual, and media arts educators to enhance their pedagogy, instruction, and leadership skills over a five-year period.

Although visual arts teachers have free access to high quality online artwork images offering them immense teaching resources, making meaningful use of them remains a pedagogical challenge. During the COVID-19 pandemic, the transition from face-to-face to online teaching caused an immediate need for teachers to enhance their digital competencies and technological capability for planning and delivering a blended art curriculum. Herein, I propose a 'teacher-curator pedagogy' via a study in six primary and secondary schools in Hong Kong to assess its effectiveness. The study took place in the academic year of 2021-22 with 331 student participants. The proposed pedagogy puts visual arts teachers in the role of 'digital curators' who create virtual exhibitions for teaching art appreciation and artmaking. This paper addresses the theoretical framework, implementation strategies, and the results of the study highlighting its effectiveness, impact and limitations on teaching when using teacher-curated virtual exhibitions in both physical and virtual learning contexts. It was found that the technological capacity and confidence of the teacher participants was enhanced through the use of online resources and virtual exhibition tools. Making use of the 3D presentation of exhibits in themes and context through digital content curation, the teachers engaged students with deep interaction through the blending of online and face-to-face teaching. However, the proposed pedagogy was limited by the high demand of training and preparation work, hardware and software support, and difficulties in assessing and monitoring learning beyond class.

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'.