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This paper examines the interplay of creativity, education, and the expressive arts. We begin by presenting a narrative literature review focusing on the use of artistic tools to promote creativity, self-expressiveness, and meaningful aspects of emotional and social learning. This review reveals strong connections between the different components of this interplay, and a special attention is given to the use of arts to promoting creativity and meaningful learning. We then propose the Empowering Creative Education Model (ECEM), which aims to provide a practical framework for employing artistic tools in each of the model's four developmental circles: I, Us, Educational and Community. Each of the four circles includes unique aspects of personal development.

The field of music education was engaged in unprecedented cross-cultural efforts with Latin American music educators and Latin American music during the period between 1939 and 1946. These inter-American efforts related to the Good Neighbor policies with an emphasis on education and culture in diplomacy. Music educators collaborated with governmental and non-governmental organizations to undertake activities including the development of curricular materials incorporating Latin American music for use in US schools and participating in person-to-person exchanges between American and Latin American music educators. The two genres of music deemed appropriate for schools, folk music and art music, were reinforced in the inter-American educational projects. This combination of efforts to diversify curricular materials and cross-cultural exchanges provided new opportunities for assessing the representation of Latin American musical cultures in US music education.

The study evaluated the impact of an international online summer program for art therapy students from Mexico, the United States, and Israel on their cultural and global perspectives. Quantitative (pre- and post-program measures of the Global Perspective Inventory) as well as qualitative tools (focus groups, art and written responses) were used. There were significant mean increases in four of the six global perspective inventory scales. Students' narratives and art responses illuminated four overarching themes: (1) gratitude for global connection; (2) growing awareness of one's experience and context; (3) growing understanding of similarities and differences; and (4) art as facilitator of intercultural communication. Findings suggest that the program supported the development of culturally informed art therapy.

At this time when interdisciplinary education in higher education is in trend, the Bauhaus is in its prime again as it celebrates 100th anniversary. Anni Albers, a seminal figure in textiles, art education and modern art in America, was one of the few artists who were present in both of the experimental art colleges of the century- Bauhaus in Germany and Black Mountain College in the United States. Many versions of her story exist to date, however this article focuses on the version of her own story, which has not been highlighted either in media or academia. It has been widely accepted that: (1) gender inequality existed in Bauhaus; (2) the shift of Albers' medium derived from wanting recognition from the art world; and (3) a structured curriculum educated many of the artists graduated from Bauhaus. However, in this study, two oral interviews of Anni Albers, seventeen years apart, were compared with public perception, which has dominated understanding of the artist and Bauhaus for centuries. The interviews change our perspective, particularly on gender equity, craft, fine art, and curriculum at Bauhaus in the life of Anni Albers.

This article describes a novel approach to teaching Artificial intelligence (AI) using artistic themes with a cohort of 20 high school students, ranging in age from 13 to 16 at the Beijing Academy, in Chaoyang District, Beijing, China. The elective class was conducted online by U.S.-based teachers as part of an ongoing partnership to provide supplemental STEM outreach opportunities and mentoring to self-selected students in the United States and China interested in joining science fairs. The AI mini-course consisted of 10 two-hour lessons. Seventeen hours were instructional, while the last three hours were dedicated to helping students choose themes for their class projects, creating an artistic product with the help of AI, and presenting the project to their peers. Students used photography, painting, creating music, and writing poetry to tie specific concepts to AI. The goal with this approach was to highlight the key differences in computational thinking (teaching people to think like computers) versus AI thinking (teaching computers to think like people).

In November 2019, the Smithsonian hosted the "Transatlantic Seminar for Museum Curators and Educators: Museums as Spaces for Social Discourse and Learning." The program brought together German and American museum professionals and was co-sponsored by the Leibniz Institution, the Smithsonian Institution, and Fulbright Germany. A keynote presentation on "Why People Choose not to Visit Art Institutions. Non-Visitor Research--Methods, Quantitative and Qualitative Results" generated a robust discussion among the symposium participants. In this essay Antje Kluge-Pinsker and Barbara Stauffer, two symposium participants, reflect on non-visitors in their respective countries, including how non-visitors are defined, why people don't visit museums, and what museums can or should do about non-visitors. While some of the language and thinking are different, the essay reveals that many of the dynamics behind non-visitation are the same in both countries, including preconceived notions, a sense of exclusion, and barriers to access. These point to areas of joint investigation in which both countries can learn from each other.

Rising worldwide scrutiny of the PhD has focused on issues such as return on investment and career outcomes. This article investigates PhD graduate careers and knowledge transfer looking at the Humanities, Arts and Social Sciences (HASS). Firstly, our extensive literature review of PhD graduate outcomes reveals limited knowledge of HASS careers and a Science, Technology, Engineering and Mathematics (STEM) bias. Secondly, our case study of graduates suggests HASS PhDs provide a vital conduit for end-user engagement and knowledge transfer. Our findings deepen knowledge about the careers of HASS PhDs by revealing pre-existing professional networks may be harnessed to inform end-user relationships throughout candidature and post-graduation. Contrary to dominant assumptions, these networks may endure even for graduates in the academy. This under-recognized phenomenon demonstrates the multi-sector knowledge transfer capacity of HASS researchers with implications for their research capability and career development needs and perceptions of the value of their research.

Polymathy may be defined as the productive pursuit of multiple endeavors, simultaneously or serially, across a lifetime. As such, polymathic breadth of interest across knowledge domains characterizes Nobel laureates in the sciences, literature, economics, and peace, though interest patterns vary between groups. Economics laureates, like science laureates, demonstrate significant trans-domain interests in mathematics and science but differ from scientists by focusing additional interests in the humanities and social sciences rather than in visual arts or crafts. Literature laureates share strong interests in visual arts with science laureates, but they engage far less in crafts and more in humanities. Literature laureates share with economics laureates a high interest in the humanities and social sciences but engage far less in the sciences. Peace laureates focus their multiple interests in the humanities and social sciences along with literature and economics laureates, but they differ from both by participating far less in arts or science. In addition, Nobel laureates are also intra-domain polymaths, engaging in more than one discipline within their primary field. Overall, Nobel laureates are significantly more likely to be trans- and intra-domain polymaths than the average person. Moreover, patterns of interest suggest that different professions select for or attract individuals with reasonably discrete combinations of talent.

Theoretical and practical implications of incorporating Quick Response (QR) codes in a traveling international art exhibition are addressed in this paper. Blending the physical and virtual dimensions, the exhibition undergirded a pilot study of the integration of technology into traditional museum settings in both China and the United States. The conceptual and methodical framework highlighted in this study included the participatory museum, informal education, and an array of evaluation research methods and techniques. Data collected for analysis comprised a set using Google Analytics, questionnaires completed by exhibition visitors, and other in-depth qualitative findings collected from participating artists from both cultures. This paper shows that the technological aspects of display can lead directly to participatory learning with the potential for new directions and avenues of inquiry.

Human endeavors such as promoting science or creating art have a close connection to underlying values and virtues. For example, creativity, curiosity or objectivity provide orientation when working as scientist or artist, outlining the ultimate aim of practitioners active in those domains. The appreciation and interpretation of domain values are expected to depend upon the domain, which should less be the case for moral values. This study investigates differences in the semantics, perceived importance and interpretation of 10 domain and 10 moral values in two domains (art and medicine) and two cultural settings (US, N = 336; Switzerland, N = 554). It is shown that the semantic understanding of values is robust with respect to culture and domain and that the appreciation of values varies in dependence of the domains but not the culture. Cultural factors have a greater impact compared to the domain for domain value interpretation, but not moral value interpretation.

This research explores the experiences of artists and artist-teachers involved in two professional development programs for arts education: a national Canadian program and a state-wide American program. Both programs aim to help classroom teachers develop ways of teaching in and through the arts by interacting with partnering artists and/or arts organizations. Based on survey data and interviews with artists, artist-teachers, teachers, and administrators, the paper outlines the experiences of artists and artist-teachers who had been involved in the programs for at least two years. The main themes developed through this research were: (1) how artists' views of their art forms were altered, (2) what the artists viewed as challenges of contemporary public education, (3) how artists' views of the teaching profession were altered, and (4) how artists articulated the benefits of the arts in young people's lives. The paper closes with a discussion of issues to consider when designing professional development programs involving artists and teachers.

"The Deal Versus the People" was a theatrical response created by people in Bradford (UK) to the Transatlantic Trade and Investment Partnership (TTIP). A controversial trade deal between the European Union and United States being negotiated at the time of the production, TTIP threatened to deepen trade liberalisation, with potentially negative impacts for communities on both sides of the Atlantic. In this article, I examine the ways "The Deal Versus the People" critically engaged with TTIP, and the neoliberal economic paradigm that it is an expression of, by mobilising a "commons" across the theatrical and social landscapes of its production.

Using the 2000 and 2009 waves of Program for International Student Assessment (PISA) data, we examined the relationships between family socio-economic status (SES), cultural capital, and reading achievement among students in five post-socialist Eastern European countries while comparing the findings with three Western bench-marking countries. Findings: In all studied countries, higher-SES students possessed higher levels of cultural capital and exhibited higher reading achievement. Cultural capital was uniformly positively associated with reading achievement. We found the least stratification by SES in Russia both in the distribution of cultural capital and reading achievement. The findings provide no evidence of the overall decline of the importance of cultural capital over time; most of the associations between cultural capital measures and reading achievement remained stable across the waves. Between-country variation in the findings does not indicate East-West divide (with the exception of Russia).

Despite growing concern about the need to develop talent across the globe, relatively little empirical research has examined how students develop their academic talents. Toward this end, the current study explored how academically talented students from the United States and India spend their time both in and out of school. Indian students reported spending roughly 11 more hours on academics than their U.S. peers during the weekend in both STEM (science, technology, engineering, and math) and non-STEM topics. U.S. students reported spending about 5.4 more hours than their Indian peers on non-STEM academics during the week, leaving an approximately 7-hour-a-week academic gap between U.S. and Indian students. Additionally, U.S. students reported using electronics over 14 hours per week more than their Indian peers. Indian students also reported having control over a greater proportion of their time during the week than U.S. students did. Generally, there were far more cross-cultural differences than gender differences. These results inform discussions on how academically talented students develop within educational systems as well as what each culture supports in and out of school.

This article explores the "art bias"--the pervasive association between creativity and art in implicit theories of creativity. It also attempts to connect creativity research in this area with literature on the theory of social representations. The data comes from an online survey completed by 195 participants mainly from the United States and the United Kingdom. The survey included two main tasks: The first asked respondents to generate as many questions as they can to determine whether an object is creative; the second invited them to rate whether creativity is a key requirement for a list of 16 professions from 4 different domains and recorded the creativity score as well as reaction time. In the end, findings offer partial support for the existence of an art bias. Although artistic professions were scored both the highest and fastest in terms of creativity, participants rarely formulated art-related questions and focused more on aspect, utility, and audience features. This discrepancy is discussed in the end in relation to the polyphasic nature of social knowledge.

This study compared the pattern of relationships among personality, vocational interests, and career exploration within an integrated framework between 369 American and 392 Hong Kong university students. The first hypothesis predicted differential contributions of the universal and indigenous personality dimensions based on the Cross-cultural (Chinese) Personality Assessment Inventory-2 (CPAI-2) to career exploration of the American and Hong Kong students. The second hypothesis predicted that vocational interests mediated the association between personality and career exploration of the students. Cultural differences were found between the personality predictors for Hong Kong and American students, supporting the first hypothesis. The CPAI-2 indigenous personality dimensions derived in the Chinese cultural context predicted career exploration of Hong Kong students only. The second hypothesis was partially supported: Enterprise interest type mediated the association between Social Potency and career exploration in the Hong Kong sample; Artistic interest type was the mediator in the American sample. The contributions of personality and vocational interests to students' career exploration, and the implications to cross-cultural career counseling were discussed. (Contains 1 figure and 4 tables.)

There is little in the professional literature about how school leaders or other professionals committed to promoting social justice deal with and manage their emotional responses to the challenges that await them in educational arenas. Even less has been written about how art making can be utilized as a means of developing new understandings and responses toward issues facing underserved populations. This study seeks to examine how 24 graduate students in the state of Texas understand the role of art making--specifically, the making of digital shorts using MovieMaker--to address issues of social justice and equity facing U.S. public schools. This study employs a grounded theory approach. Data consist of reflective interview responses, written narratives, and field notes. Participants identify art making as a valuable tool to deepening understanding and responses toward social justice and equity-oriented work in schools. (Contains 1 table, 1 figure and 1 note.)

This article explores personal, organisational and societal perspectives on creativity, arts, and adult education. Attention to creativity in the United States has increased during the past century. Fifty years ago, scholars and practitioners interested in the arts and sciences were focused on extraordinary creative achievements. Since then the scope of such interest has expanded from innovative and useful outcomes such as paintings and inventions, to include characteristics of very creative people, their ways of working, and various influences. The scope has also broadened from a few outstanding examples to increasingly include all people and their lifelong learning in a society in which change and learning have become widespread. This article demonstrates how creative adult education can help enhance the creativity of all people in all aspects of their life. I combine my parallel experience in art and adult education to explore the beneficiaries of art; characteristics of artists; venues where creative activity takes place; and how appreciation is shown for creative endeavours. I also use artistic metaphors and combine a review of trends regarding major writings about creativity, with personal reflections about future directions to strengthen attention to creativity in adult education.

In this article the author is concerned with the intersection of two congruent phenomena: (1) an increasing number of references to borders in contemporary Native American art; and (2) an increasing occurrence of border-rights conflicts between Native nations and the governments of the United States and Canada. Focusing on the period roughly 1990 to the present, she acknowledges the shifts in both art and politics after September 11, 2001; however, she does not suggest that tension or even outright conflict around borders is new to Indian Country--indeed, the right to free passage is a basic tenet of American Indian and First Nations sovereignty. She argues that as border-zone frictions "intensified" post-9/11, the visual and philosophical complexity of artworks situated within these zones also increased. The evolving situation at Kawehno:ke and the installation of Alan Michelson's artwork at Massena provide an ideal entry point into this discourse. (Contains 9 figures and 43 notes.)

Creating memory during and after wartime trauma is vexed by state attempts to control public and private discourse. Science fiction author Iain Banks' novel "Look to Windward" proposes different ways of preserving memory and culture, from posthuman memory devices, to artwork, to architecture, to personal, local ways of remembering. (Contains 2 figures and 21 notes.)

The US field of composition studies and the subfields of writing across the curriculum and writing in the disciplines have focused on the relationships between teaching, language and knowledge. The Dartmouth Institute for Writing and Rhetoric develops these relationships through courses in writing and speech, student support and faculty development. These introductory notes frame the two articles that follow, reflecting issues within this broader framework that are less studied in writing across the curriculum (WAC) and writing in the disciplines (WiD) literature, but are central to collegial dialogue and intentional preparatory teaching. (Contains 1 note.)

"Invisible" is defined as (a) unable to be seen, and (b) treated as if unable to be seen; ignored (http://www.askoxford.com/concise_oed/invisible). "Black" is described as (a) of the very darkest color, and (b) relating to a human group having dark-coloured skin, especially of African or Australian Aboriginal ancestry (http://www.askoxford.com/concise_oed/black). These two concepts are significantly connected to the art of the contemporary black American artist Kerry James Marshall. The content of his work derives from his personal knowledge as a black American in the United States--experience often related to race. Visual narratives of artists outside the margins need to be more fully incorporated in K-12 art classrooms, as well as possibly art education teacher programs. Introducing the counter-stories of artists such as Marshall into the classroom brings to the forefront the role that race plays in life, and also expands stories beyond those of European and European-American artists. This article focuses on the visual narratives of Kerry James Marshall that are informed by his personal experience. Marshall's narratives are examples of counter-stories that express his experience as a black American. The author shares Marshall's comments about the concept of blackness and how it relates to his work. (Contains 5 figures and 4 endnotes.)

Against a backdrop exploring the relationships between cultural democracy and nonprofit arts funding policies, this article describes the impact of unwritten arts funding policies that are manifest in tax breaks for individuals, foundations, and corporations as well as federal contributions to nonprofit arts organizations in the United States. We argue that such funding policies, both explicit and implicit, are impoverishing the local arts in the US, and by extension, democratic participation, including education, in the arts. We further probe the relationship of art education and democratic practices, suggesting that a vibrant U.S. democracy is related to interrupting cycles of cultural reproduction, particularly at the nonprofit arts funding policy level. (Contains 1 figure.)

Cultural understanding is essential to contemporary art education practice, however, there is much confusion about the various lenses through which one should consider the intersection between culture and education. Davenport (2000) distinguishes among four approaches to culture and education that include international-comparative, global, multicultural and community-based art education. This author's personal experience, which includes crossing geographical and cultural borders from Brazil to attend graduate school and developing a professional career in the United States, is marked by these overlapping and encompassing orientations toward education and culture. The author states that teachers and students should learn to investigate their own cultural traditions, belief systems, and values, as well as those of others, as a requirement for critical participation in the constantly changing world. While teaching, he seeks to create opportunities for cultural understanding by encouraging students to engage in qualitative field research. His goal is to prepare art educators to learn how to inquire about art and culture and investigate the dialectics of local and global influences within a particular context. Such research can inform meaningful art education practice that, while rooted in different communities, creates opportunities to recognize and transcent familiar boundaries. This article is a reflection of the author's attempts to incorporate these goals into a course entitled "Art in a Global Society." The main goal of the course is to prepare educators to examine border-crossing situations that facilitate contact with other cultures through art, education, or everyday experiences. As part of the course requirements, students design and conduct an independent research project based on the premise that direct communication can advance cultural understanding. The projects of two students are presented and discussed. (Contains 1 figure.)

This article presents the author's response to the reviewers of her essay "Gender and Aesthetics." The reviewers have advanced some interesting disagreements regarding the author's speculations about the use of disgust in feminist and postfeminist art, and the connections that she draws between the disgusting and the sublime. In this article, the author elaborates on some matters that she believes she did not pursue with sufficient sharpness in the book regarding the location of gender in these emotive and aesthetic categories. (Contains 7 notes.)

Public school art education in the United States has been around for over 125 years. Professional art education associations of one kind or another have been with us for at least 100 years. The National Art Education Association has provided information and support to art teachers for many decades, but the truth is that most public school art teachers battle constantly for recognition, adequate funding, adequate classroom and storage space, and support--often without success. This author, a member of NAEA for 48 years, expresses his view that the overwhelming preponderance of negative attitudes about art education from people outside the profession is being ignored. He states that it is way past time to get our "heads out of the sand." The sand is much deeper these days because of increasingly diverse student and parent populations, and major repercussions from the 9/11 tragedy. These two factors are not the focus of this material but weigh heavily on art teachers and art programs. Presented in this paper are comments from two retired elementary art teachers to support this point of view. A conclusion contains insights regarding potential directions for developing positive attitudes and relationships. (Contains 2 notes.)

Since September 11, 2001, our world has become increasingly divided. The escalation of religious, ethnic, and cultural conflicts is having a profound impact on the hearts and minds of the next generation. In this article, the author asserts that the arts are language-independent media for building bonds of friendship and communication among the world's children. Collectively the arts are a powerful catalyst for promoting peace, freedom, and cooperation. Likewise, sports are also a powerful tool for building peace. Sections include: (1) Peace and Children; (2) Art and Sport; (3) The Arts; and (4) Festivals and the Olympic Games.

This bibliography's first section lists writings on Blacks in America in the following categories: art, biography, education, history, slavery, literary history and criticism, literature, media, music, population studies, religion, social and political conditions, social thought, and women. The second section is devoted to selected writings on the Black experience in Latin America. (RDN)

This bibliographic essay discusses books published in the United States and abroad dealing with state patronage of the arts. Art is viewed by governments primarily as a system of opportunities whereby it may reward or quiet constituencies and otherwise put its best face forward in international relations. (RM)

Describes an exhibit and a book catalog produced by the Museum of American Folk Art and others that show paintings, toys, furniture and other objects made in the period extending from Colonial times through the Victorian era. Taken together, the items in the exhibit trace the rising status of American youth. (Author/RH)

Arts participation has been linked to positive health outcomes around the globe. As more research is taking place on this topic, there is heightened need for definitions for the complex concepts involved. While significant work to define "arts participation" has taken place in the arts sector, less work has been undertaken for the purpose of researching the arts in public health. This study developed a definition for "arts participation" to guide a national arts in public health research agenda and to advance and make more inclusive previous work to define the term. A convergent mixed-methods study design with sequential elements was used to iteratively develop a definition that integrated the perspectives of field experts as well as the general public. Literature review was followed by four iterative phases of data collection, analysis, and integration, and a proposed definition was iteratively revised at each stage. The final definition includes modes, or ways, in which people engage with the arts, and includes examples of various art forms intended to frame arts participation broadly and inclusively. This definition has the potential to help advance the quality and precision of research aimed at evaluating relationships between arts participation and health, as well as outcomes of arts-based health programs and interventions in communities. With its more inclusive framing than previous definitions, it can also help guide the development of more inclusive search strategies for evidence synthesis in this rapidly growing arena and assist researchers in developing more effective survey questions and instruments. [ABSTRACT FROM AUTHOR]

Summary: The complexities of refugee resettlement are difficult to comprehend, and alternative approaches to education may enhance empathy. Puppetry's art form often engages broad audiences, allowing puppets to tell important stories. This project developed a research-based educational puppet show to increase understanding of refugees in the United States (US). Using a mixed-method approach, this exploratory study (1) interviewed eleven refugees from five origin countries; (2) analyzed the interviews for salient themes; (3) developed a "master" play based on emergent themes; (4) delivered the play through puppetry; and (5) empirically assessed the efficacy of puppetry in disseminating information about refugees. Findings: Five overarching themes regarding refugee resettlement emerged from the interviews, namely, (1) economic concerns; (2) language barriers; (3) socio-cultural differences; (4) misperceptions; and (5) altered family dynamics. Almost all 107 respondents who completed a pre- and post-show survey evidenced having gained new knowledge about resettlement in the areas of (i) refugee status; (ii) the arrival process; (iii) economic realities; (iii) adaptation issues; and (iv) refugee perceptions of opportunities in the US. Applications: The salient findings of the interviews were consistent with extant literature on refugee resettlement and the 40-min research-based puppet show confirmed that puppetry can be an alternative, or supplementary, training tool. Puppetry brings life to didactic presentations for social workers and other service providers through effective portrayals of difficulties faced by both refugee and host in the adaptation process. It also suggests that puppetry can sensitize and educate practitioners on issues that can be controversial. [ABSTRACT FROM AUTHOR]

Diego Rivera, an acclaimed Mexican painter active during the first half of the 20th century, painted multiple frescoes in Mexico and the United States. Some include depictions of bacteria, their interactions with human hosts, and processes related to microbiology and public health, including the microbial origin of life, diagnosis of infection, vaccine production, and immunization. Microbiological subjects in Rivera's murals at the Mexican Ministry of Health in Mexico City; the Detroit Institute of Art, Detroit; Rockefeller Center, New York/Palacio de Bellas Artes, Mexico City; Chapultepec Park, Mexico City; and the Institute of Social Security, Mexico City, span almost 25 years, from 1929 to 1953. Illustrating the successes of the application of microbiological discoveries and methods to public health and the prevention and treatment of infectious diseases, they benefited from Rivera's creativity in melding microbiology's unique technological and scientific aspects and public health elements with industrial and political components. [ABSTRACT FROM AUTHOR]