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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.

In this article, I provide a critical reading of the now-removed statue of Sir John A. Macdonald in Charlottetown, Prince Edward Island, Canada. I bring together my own experience visiting the statue with understandings from Indigenous scholarship and public pedagogy theorizing to think about commemorations as public pedagogies that are foremost relational. I consider how the Macdonald statue works narratively, discursively, and as a site of embodied encounter to create a harmful relationality. Thinking relationally, and pedagogically, about colonial statues suggests possibilities not only for understanding how these commemorative practices produce bad relations but also for envisioning and enacting good relations.

Active learning is a technique used to help transfer passive knowledge into true learning of material, which can be very beneficial when learning challenging topics. The endocrine system is a complex series of topics that can be challenging to tackle in the short amount of time allotted to it in the medical school curriculum or an undergraduate anatomy and physiology course. Pedagogical strategies that use art as a tool have been shown to motivate and induce students to self-learn such complex physiology topics. The hormone project was designed to help students manage the vast amount of information and acquire knowledge in a meaningful and creative way. Students were asked to create a visual project to depict an endocrine disorder that incorporated art into their learning of the endocrine system. Based on post-session survey results, students found the activity to be beneficial to their learning and they enjoyed engaging in the activity. Providing students with opportunities to engage with material in a creative, artistic manner can be both engaging and enjoyable. This activity provided students with a chance to develop their own memory hooks to facilitate easier recall of the complex topics in the endocrine system. A pilot study of this activity shows great promise to be a staple in curricula that embrace active learning.

This study aims to determine the perceptions of pre-service social studies teachers about aesthetic values after visiting a virtual museum. The research was planned according to phenomenology, one of the qualitative research designs. The data of the research was collected through interviews. The descriptive analysis technique was used to analyze the data obtained from the research. According to the results of the research, regarding Pera virtual museum experience, the pre-service teachers pointed their opinions as "its usability in the lessons, the feeling as if they were there." The elements that attracted their attention during virtual museum visit, "mostly the artwork named "The Tortoise Trainer", explanations and videos next to the paintings." The pre-service teachers stated their aesthetic values gained through the virtual museum visit as mostly "beauty," and then "harmony, balance, delicacy, elegance, mystery, perfection, seriousness, majesty, aesthetics, perception of change and continuity, observation, respect, sensitivity, understanding, protecting and sustaining cultural values, pleasure, happiness." They expressed the effects of virtual museum visits on aesthetic values as mostly "gaining a more positive attitude towards aesthetic values," followed by "raising awareness, artworks should be evaluated from an aesthetic point of view, seeing the artworks in the museum from a multi-faceted perspective."

This research started as an effort to recover lost childhood memories. I (Emilio Bassail) used the film-making apparatus as a device that allowed me to excavate, elaborate and produce representations based on the small fragments of memory I had left. After creating an archive of reconstructed memories, I started questioning the images I had unearthed. This position allowed me to interrogate and challenge the discourses behind the images. What I discovered is that forgetfulness was in fact an effect of the suppression of potentially subversive discourses. I had not really forgotten, but rather I had chosen not to remember (since the hidden childhood memories defied the internalised discourses of power and structure). To be able to remember and therefore to create, first I had to debilitate the discourses of the power structures that prevented me from going forward in my research. Following Suely Rolnik's (2019).

The "new digital art? genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.

The William Penn Foundation launched Philadelphia's Informal Learning Initiative (ILI) to support the development of literacy-rich programming for families with children aged 3 to 9. The initiative was designed as a network of partnerships in which a cultural organization--usually a museum--paired with one or more, community-based organizations (CBOs) to design literacy-rich informal learning experiences for caregivers and children. The initiative involved 11 cultural partners and 15 CBOs. Programs exposed three- to nine-year-old children and their families to literacy practices in the context of original artwork, live animals, science experiments, natural settings, new foods, and cultural or historical sites. Programming was delivered at no cost to families, often in community settings such as recreation centers or school auditoriums. Convenient times and locations, as well as snack or meal options, supported family participation, as did book giveaways, take-home activity packs, and special museum visits. As the evaluation team for ILI, the authors structured their work to support the development of a networked community of practice, collecting data for improvement and exploring the best ways to measure impact across projects. They used a structured observation protocol and CBO staff- and educator-conducted interviews with children and caregivers in their programs to determine ILI programming's impactfulness. The study aimed to examine how museums can connect to collective impact efforts in literacy and how informal learning programs can be reoriented to better respond to community needs. Findings from the study and recommendations for museum-CBO partnerships are discussed.

Creative Youth Development (CYD) is a holistic approach to engaging young people through the arts and creativity to support them in thriving in all aspects of their lives. Young people consistently rank culminating events -- performances, exhibitions, youth summits, screenings of their films -- as a powerful motivator and key aspect of their involvement in creative youth development programs. This article features insights from a qualitative research study in the United States that explored how CYD programs adapted culminating events to the largely virtual program environments of 2020. Findings include challenges organizations faced in 2020; strategies for adapting culminating events during the COVID-19 pandemic, ranging from centering core principles of youth leadership and prioritizing connection with young people to creative strategies for engaging youth, including positioning new event formats as opportunities for youth to co-create entirely new experiences and events; and implications for the youth development field.

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.

A STEAM curriculum integrated with science, technology, engineering, art, and mathematics would help gifted students actively explore and integrate knowledges across the fields. In this study, a program "the Chant of Joy Dadaocheng" was designed by five teachers from various fields for students to explore historical culture, produce creative artworks, and present their performances. 15 students identified through the Identification Committee Board for gifted and talented students in Taipei City participated the program. After 5 days enrichment activities, a semi-structured interview, behavior observations, script, and artworks were collected to assess the learning outcomes. The data collected were coded, classified, and interpreted. The results indicated the participated students could derive new ideas from the historical and cultural context through artworks, props, music, choreography, stories, and sentiment; they were able to transform inspirations from learning experience into creative presentation; and exhibited cross-disciplinary literacy, creativity and problem-solving ability.

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.

For the last decade education policy in England has been underpinned by a dichotomisation of education into STEM versus Arts. The rationale is that STEM graduates gain more lucrative employment via the desirability of the 'STEM skills' which it is stated are increasingly in demand and imperative for economic prosperity. Through a literature review and analysis of policy documents and reports this paper examines evidence regarding the assumptions that are inherent in this claim. In doing so it reveals that the rationale for this approach is deeply flawed, particularly in relation to future skills needs. This raises questions not only for the current direction of policy but fundamentally the notion of STEM as a useful and meaningful acronym in this context. The evidence instead calls for an integrated, dynamic and strategic approach to education policy that fundamentally moves beyond the false dichotomy of STEM versus Arts.

Art and Indigenous culture are inseparable. From the immaculately decorated lodges and war shirts of thousands of years to contemporary mixed and digital media images, Indigenous arts are expressions of survivance. Creative arts have sustained Indigenous ways of knowing, being, doing, and healing through attempted cultural genocide. Research has shown that art engages youth in life skill-building, learning, emotional regulating, and spiritual healing, supporting art as an intervention for wellness. Culturally-based artistic expression and the process of creating promotes wellness among Indigenous youth. As primary sites of assimilation and colonialism, educational institutions have a responsibility to enact reconciliation through culturally-rooted arts-based approaches to wellness. School psychologists are wellpositioned to support these approaches. This study took place in Kainaiwa in Southern Alberta and explored Niitsitapi artists' and educators' perspectives on the impacts of culturally-rooted arts-based interventions with Niitsitapi middle school students in the classroom. Over 2 days, professional Indigenous artists shared their art practices with students at a middle school in Kainai First Nation in Alberta. We had research conversations with 12 Niitsitapi community members involved in the event using a decolonizing, community-based approach. Indigenous storywork was used to understand research conversations, highlighting information and guidance for school psychologists to inform their engagement with Indigenous students and community members in schools. Findings emphasized art as healing, particularly given its connection to culture. Further, cultural engagement through art supports student wellness and educational engagement. Art can be used to empower voice, overcome deficit narratives, create new stories, and cope with disharmony. Art can also engage youth in discovery and learning, providing an alternative to a lecture style of learning, increasing enjoyment in the classroom experience. These findings have practical implications for future interventions and the integration of art pedagogically. This paper offers recommendations that highlight stark distinctions between culturally-rooted art practice and conventional Eurocentric art approaches in education.

In the last decades, agroecological and permacultural initiatives and organizations have grown. These initiatives attend to notions of food sovereignty and alternative models of agricultural production. The confluence of different actors and social initiatives through which experiences and knowledge of cultivating food are shared, and new ones are created, reveals a high educational potential. In light of impending global catastrophes such as climate change and pressing inequalities, new alternatives and diverse forms of sociability are necessary to open up possible futures for life on a damaged planet. Freirean approaches to science education must align with transdisciplinary social and political movements, and generate reflective practices and methods. This article addresses the case of an art and permaculture cooperative (APC) to analyze how communities work together to disrupt and dismantle inequities in science and education and make a more livable world. We offer a critical and contra-hegemonic pedagogical perspective on science education, one that forges new epistemic territories grounded in cooperation, art, permaculture, relationship, and diverse ecologies. The APC is the only one of its kind in Argentina. It has carried out its socio-ecological activities and interventions in ways that respect the characteristics of the natural ecosystem, agriculture and permaculture. We use narratives and case study methods to reveal how people's subjective narratives give meaning to their experiences and learnings. The APC as a learning context has the potential to transform reality, promoting the development and strengthening of popular science education for liberation, one that honors diverse ecologies, and meaningfully addresses new socio-environmental challenges and concerns.

This article is structured around four questions related to the arts, language and intercultural education. Are the claims for the value of the arts over-stated? Does the use of the arts in the service of non-art outcomes run the risk of distorting the art form itself? Is there a danger that incorporating the arts in language education will distract from its central purpose? Are there any risks in employing the arts to support the teaching of interculturalism? These questions are used as a focus for discussing theoretical perspectives in the arts, including justifying the arts, theories of art, the importance of form, the concept of 'aesthetic experience', 'learning in' and 'learning through' the arts. These issues are examined in order to illuminate practical implications related to the use of the arts in the context of language and intercultural education. The article highlights the way in which theoretical perspectives can help widen pedagogic horizons.

This article highlights the interpictorality in two YA books by the Swedish writer and illustrator Anna Höglund, "Om detta talar man endast med kaniner" [This Is Something You Only Talk About with Rabbits] (2013) and "Att vara jag" [To Be Me] (2015). The analysis of the visual intertextuality between pieces of artwork by Peter Tillberg, Frida Kahlo, Lena Cronqvist, Richard Bergh and René Magritte and five pictures from Höglund's books thematises school, body and identity. The discursive positioning in the artworks and in Höglund's pictures directs the readers in their decoding of Höglund's text, offers possibilities in their interpretations and challenges the adolescent readers to make connections across different formats, such as text and image, and between different images.

In 1887, the British colonial masters in the Gold Coast implemented an Arts education reform that prioritized the faithful representation of everyday objects in still-life artistic works. This was known as the Hand and Eye curriculum, an Arts education which was geared towards industrialization and functionality rather than innovation and creativity. This study assesses the educational code of 1887, the art during that period, what the legacy offers for creativity in art-making, and how colonialism impacted the Ghanaian art scene. Using a mixed-method approach and drawing on diverse data sources such as audio-visual materials, school visits, archival studies and exhibition histories, the study finds that the intellectual legacy of copying what one sees is still a significant component of the Ghanaian curriculum and educational practice today. While there are examples of exciting developments in Ghanaian artistic education and practice, the country's basic and secondary art education is still steeped in the still-life paradigm of colonial art-making and education.

This study seeks to enable sophomore-level students in the Department of Art Teaching to make inquiries about their environment and to critically interpret some visuals through a/r/tographic practices. Therefore, it draws on a/r/tographic inquiry, which is one of the art-based research methods. The participants of the study are 13 sophomore-level students (6 female, 7 male students). The data were obtained from reflective diaries, semistructured interviews and document analysis, and analysed through content analysis. The researcher organized 5 different travel plans for the students in Erzincan, a city located in the Eastern Anatolia of Turkey. The focus trips were made to a shopping mall, a market, a local bazaar, a modern street and an old settlement. The students completed their trips within a period of 10 weeks. The findings of this study showed that the students were able to make critical inquiries about the environment they live in, gained awareness about social issues thanks to the auditory or visual experiences they had in daily life and reflected this awareness to their artistic works. [Note: The publication month (December) shown on the PDF is incorrect. The correct month of publication is March.]

This article presents an adaptation of an arts-based research method usually reserved for child-focused research to examine organizational processes. We developed Draw, Write, Reflect (DWR), advancing a known method, Draw and Write, for investigating phenomena relating to child participants, to explore a new context: adults engaging in academic careers. This article reports on the rationale behind the novel use of this research method, outlines a DWR procedure for future research, and contains reflections of both the researchers and the respondents regarding their experiences participating in DWR. Offering participants a combination of visual and oral methods allowed the researchers to obtain data in a more individualized approach steered by participants' preferences. The multidimensional insights obtained through DWR would not have been attainable through each method on its own. Furthermore, we argue arts-based research can serve as a vehicle for disseminating academic work beyond conventional academe to a growing, nonacademic audience.

Design guidelines for traditional cultural artefacts play an important role in Culturally Inspired Design (CID) activities and design education. In this paper, a comparative study was performed to assess the impact of present-day design guidelines for traditional Chinese cultural artefacts on novice designers in a CID process. In all, 42 novice designers enrolled in a cultural product design course participated in this study, under two different design conditions: an unaided condition and a guideline-aided condition. Each condition includes three stages: identification stage, translation stage and implementation stage. In the unaided condition, each participant was asked to finish an investigative report on traditional cultural artefacts without any guidance and then carry out a detailed cultural product design. These results were then compared with those of the participants in the guideline-aided condition, who received a design guideline for traditional cultural artefacts. The results were assessed by expert raters against six design metrics: breadth, depth, quantity, variety, novelty and quality. They revealed that the design guideline for traditional cultural artefacts in a CID process promoted the analysis of cultural features and increased the novelty and quality of design outcomes but resulted in decreased variety. We propose that the design guideline for traditional cultural artefacts may be useful as part of the design process and as a pedagogical tool in cultural creative design, but the best moment at which to introduce the design guideline should be further examined.

We argue that the art museum can and should be a place of philosophical exploration. It can be such a place because philosophy and art have important similarities. They both ask us to adopt a non-instrumental, contemplative attitude toward the world that allows us to widen our personal viewpoint and explore the complex nature of things. To explicate these commonalities justifies much of museum educators' actual practice and motivates the integration of philosophy into art education where this is not yet common practice. Furthermore, our aim is to motivate more and deeper interdisciplinary cooperation between museum educators and philosophers. The art museum "should" be a place of philosophical exploration on the grounds that it can thereby reach its full potential as a place of informal learning. Furthermore, embedding philosophical explorations in museums' visitor engagement can benefit the discipline of philosophy, too, insofar as it introduces it to a broader public.

This article explores intercultural education research about intercultural encounters as aesthetic phenomena. I will argue that Gadamer's notion of "hermeneutical identity" when encountering an artwork can enrich intercultural education studies' (IES) conceptualisations of an event-based research and pedagogy, conceived as a mode of response to a personal address. Drawing on Emmanuel Levinas' ethics as first philosophy, IES's current ethical turn posits responsibility for the (radical) other (as a pre-ontological being-in-relation) -- with the resulting fracturing of our self-directing ego -- as the first reality of the self. In this article, I argue that Gadamer's hermeneutics speak to the curious methodological paradox, which results from IES' turn to Levinas. Here, Gadamer provokes fruitful methodological questions as to the kind of 'research aesthetic' that could plausibly emerge from such event-based research and pedagogy -- when it seeks to sustain ontological/epistemological openness and not give (fully) into the 'betrayal' of (scientific) language.

Creative thought leaders and educators have readily invited and challenged humans to harness the imagination as a way to envision otherwise. Ethical teaching and learning processes demand creating equity along a continuum of critical and creative practices (Freire, 1970/2014; hooks, 2009; Love, 2019). Some in the field of art education have taken up such calls and have responded to complex humanitarian issues, specifically anti-Blackness racism, using critical frameworks that demand change in the arts in education (Kraehe & Herman, 2020; Rolling, 2020). Revealing systemic inequities and thereby demanding fresh approaches for understanding the lived experience in and through the arts in education, one such framework, intersectionality, has received fresh attention, partly because of COVID-19 and the resurgence of the #BlackLivesMatter movement. Specifically, Black women art educators (Peoples of the Global Majority) have begun to shift the discourse in the field to document the complexity of lived experiences using intersectional feminist frameworks (Acuff, 2018; Coleman & Wilson, 2020; Wilson, 2020). The authors suggest that change in art education requires reconsidering what aspects count as essential arts tendencies and knowledges, and whom these tendencies may or may not serve.

This article examines the terms "avant-garde" and "vanguard" as keywords for teaching English through the concept of political agency. For example, political theorist Lea Ypi has conceptualised an 'avant-garde political agency' as an experimental process that is meant to be both rhetorically effective and grounded in historical context; however, this approach also presents an opportunity for teachers and students to revisit how Black Power traditions in the USA, for instance, have used the related term "vanguard" to imagine alternate futures. To reconcile this disconnection, I examine excerpted uses of the two terms from select BIPOC (Black, Indigenous, and people of colour) artists, scholars, and activists. This keyword analysis can provide a useful lesson for teachers and students in English classrooms about the importance of historical context when engaging with challenging texts or experimental artwork. Keyword analysis is a useful way to provide that kind of context, and further, when these two terms are combined, the resulting 'vanguard avant-garde' perspective encourages historicised forward thinking through an understanding of agency that foregrounds experimentation, public communication, and student-centred teaching.

In this article, the authors discuss the intersectional art practices of contemporary Asian American artists via antiracist art inquiry grounded in intersectionality and AsianCrit. This inquiry is rooted in the authors' own lived experiences as an Asian immigrant and an Asian American, both of whom embody immigration and transnationality. The authors examine the work of two contemporary Asian American artists, Kenneth Tam and Valery Jung Estabrook, as the case for antiracist art praxis highlighting how intersectionality and AsianCrit can productively expand antiracist art inquiries and practices.

The inquiry-based approach in museum education often takes the form of an educator asking open-ended questions to facilitate discussions around artworks, while encouraging students in careful observation and interpretive processes. However, although art museums are emphasizing learners' experiences and their interpretative processes, adult learners are still more accustomed to lecture-based tours. This article investigates the adult Hands-On program at The Noguchi Museum. The research asks: How do educators prompt participants to engage in active reflection and meaning-making in response to artworks? How do participants describe their learning experiences? Do these experiences qualify as transformative learning? The findings suggest educational implications for interested museum professionals and adult educators.

During the unprecedented time of COVID-19, one art therapist noticed that her clients created images expressing their loneliness. To foster a sense of community catharsis, the art therapist worked with her clients to create an art display at a public mall to enable the general population to receive secondary therapeutic support for their own feelings of isolation and depression during the pandemic. Such use of a therapeutic art exhibition promoted a sense of connection and understanding.

In this article, I use arts methods to explore the concept 'intercultural mindfulness' as performed in students' meaning-making about their intercultural experience at a UK university. The findings identify some less discussed qualities for mindfulness such as affective openness, embodied openness, and ethical-oriented openness, generosity, energy/effort, and liberated freedom. The study addresses a critical, theoretical ground for understanding and applying mindfulness in intercultural studies. Moving beyond the common focuses on cognitive skills or competence, it enriches the existing understanding of intercultural mindfulness by being attentive to the humanistic, affective, ethical, and ideological dimensions of mindfulness.

This article provides a comprehensive analysis of the evaluation of the arts within performance-based research funding systems (PRFSs). Previous literature on PRFSs has overlooked the arts and focussed primarily on outputs in relation to the sciences and humanities. We develop a typology of how artistic outputs are evaluated within 10 countries' PRFSs, operating in Australia, the Czech Republic, Italy, Lithuania, New Zealand, Poland, Portugal, Slovakia, Spain, and the UK, and identify three different types of artistic evaluation systems. The study compares evaluation methods and provides a classification of quality criteria used by evaluation panels. We conclude with a discussion of the challenges specific to different types of systems.

In this essay the author recalls the process of organizing and interpreting an exhibition of art and language made in response to a catastrophic fire that devastated California's Sonoma and Napa counties in late 2017. The Sonoma Valley Museum of Art invited a group of artists and writers to be part of its small exhibition planning team to help establish the exhibition's focus, compile the checklist of artworks and writing, compose the interpretive labels, and participate as presenters in the public programs. What follows is a reflection on the process that resulted in unique approaches to organizing, presenting, and interpretation as the artists, writers, and museum staff collaborated to engage the audience directly through first-person stories, with the intention of honoring their shared experience and healing their community.

The author--in the role of one teacher observing another--documented a spring 2021 remote introductory art history course during the COVID-19 pandemic when graduate student teaching assistants called a campus-wide strike. Forced to improvise, the professor replaced formal analysis papers and exams with an ungraded journal. Drawing from the content of these journals, notes from the Zoom classes, and email correspondence with the professor, the author explicates how students took this journal assignment as an invitation to respond personally to the course content, and as an opportunity to grapple with their own identities. These journals allowed students to use art to explore similarities and differences freely across culture, space, and time. With the traditional requirement for an academic argument temporarily on pause, the author raises questions that characterize our present day: how to encourage a world that accepts different identities without hostility.

Perception is one of the most fundamental aspects of human communication. This activity utilizes art to help students experience and understand the psychological and communicative aspects of perception. Students are required to observe and discuss their observations about selected pieces of artwork. After completing the activity, students enhance their abilities to form connections between their experiences and course concepts about perception. Courses: Interpersonal Communication, Small Group Communication, Public Speaking, Introduction to Communication, Nonverbal Communication, Listening, and Visual Communication. Objectives: The activity aims to provide students with first-hand experience and appreciation for how perception influences the way humans receive and interpret all types of messages.

This article addresses antiracist arts education by examining key aspects of the critical response protocol (CRP) to disrupt notions of neutrality when responding to works of art. Building on a large urban district's professional development work to support arts educators' awareness of their racial identity, we examine how the CRP perpetuates whiteness in K-12 arts classrooms, ultimately maintaining racial inequality. Our research addresses the following question: How do markers of identity, like race, intersect with CRP in K-12 arts classrooms? Our findings contribute to literature on antiracist arts education.

Drawing on scholarship about decolonization and anti-Asian racism, this article offers a decolonizing mode of thinking that intervenes in and advances antiracist art inquiries and praxis. Refusing a nationalist and fictitious Americanization that focuses on the successful stories of Asian immigrants, this new mode of antiracist art inquiries and praxis challenges the existing paradigm of antiracism for and of Asian immigrants that heavily centers on the communities' empowerment and inclusion within a multicultural discourse. By viewing racism as a function of settler colonialism, a decolonizing intervention helps to uncover the limitations of forms of Asian American racial justice work that collide with the work of Indigenous survivance while submitting to the development and maintenance of the settler colonial system. Based on a contemporary Asian immigrant artist's site-specific video performance, this article discusses new orientations of antiracist art inquiries that critique settlers' colonial representational strategies that manage the racial formation and relations of Asian immigrants/Natives/White settlers to secure White settlers' supremacy and sovereignty. A critical understanding of Asian American positionalities that explains its roles in the settler colonial framework requires a contextual understanding of the transcultural context where both imperial and settler colonial powers are consolidated to shape Asian immigrants' settlement and an ethics of relationality for Asian-Indigenous solidarity that sustains Asian American communities' racial equity and liberation in line with Indigenous survivance.

Our inquiry considers how minoritized youth counter brutal hegemony by re-imagining their identities through arts. In particular, it explores how minoritized youth draw on dark themes to (re)present their lives in creative production. Since K-12 educational contexts are often viewed as sites of convivial ambience where student depictions of violence are discouraged (Phillips [2012]. "Retribution and Rebellion: Children's Meaning Making of Justice Through Storytelling." "International Journal of Early Childhood" 44: 141-156.), research is needed to explicate how youth engage themes of physical violence, destruction, and even death in storying their lives. Our article is guided by the following questions: How do minoritized youth engage dark themes that disrupt discourses of conviviality in re-storying their lives? Why is a curriculum of darkness important for radical healing? Our illumination of the ways in which minoritized youth explored violence and destruction in their creative work significantly extends the literature on young people's examination of identity and inequality. Our study brings attention to the need for a curriculum of darkness, where pedagogy might better reflect the dark themes that are culturally relevant (Ladson-Billings [1995]. "Toward a Theory of Culturally Relevant Pedagogy." "American Educational Research Journal" 32 (3): 465-491.) to the identities and lives of minoritized young people.

The involvement of whanau in the teaching and learning process is important at every juncture of a child's educational journey. Rich understanding of the curriculum enables whanau to make deep and meaningful contributions to discussions about their child's development. It also presents an interesting challenge for educational settings to create opportunities for whanau to increase their knowledge of the curriculum. This article outlines the benefits of a toi Maori approach to support whanau understanding.

According to the National Center for Educational Statistics, in 2016 about 1 in 5 children in the United Stated lives in poverty (19%) Students in our music classrooms and ensembles do not begin life from the same starting line. They come from homes and communities that are vastly different. The intersections of poverty, disability, racial inequity, disability, and trauma are inextricably linked in their daily lives. This article will examine these issues and offer suggestions for future policy and practice decisions in the arts.

We studied three novel approaches in environmental science communication for experts: gamification, virtual reality, and art-based scenario workshops and analyze participants' perceptions through qualitative interviews and a survey. Four dimensions emerged from the interviews: "enjoyment," "usability," "sociability," and "learning" that were found to be important for scientific communication. The approaches were perceived as enjoyable and beneficial for creating dialogue. However, the simplification of the information reduced its usability for experts. The approaches were found suitable for understanding other participants' viewpoints rather than disseminating knowledge about the content. Experts as a target group require special focus in the development of science communication.

This article supports the thesis that popular art can be a source of learning for adults. Questions are framed in the context of the trend for public pedagogy and the andragogical concepts of learning put forward by Jack Mezirow and Knud Illeris. To illustrate the problem, selected popular culture texts from the field of movies, street art, and TV series are used. On the basis of the analyses conducted, three conclusions are formulated. The first is that popular art can be a source of transformative learning. The second conclusion shows that the human learning process that takes place in relation to popular art integrates three dimensions of learning: the cognitive, emotional, and social. The third conclusion points to popular art as a form of public pedagogy.

We present an analysis of bilingual pre-service teachers' translanguaging practices when co-teaching bilingual art gallery lessons as a field experience in a Spanish/English bilingual/bicultural teacher education program. Using a critical bilingual literacies approach, we posed an opportunity for bilingual/bicultural pre-service teachers to be positioned as cultural and linguistic experts. We found how using art objects as mediators of translanguaging in bilingual art gallery lessons has the potential to promote cross-linguistic metalinguistic awareness, develop a sense of identity investment and positionality, and encourage interrogation of linguistic inequality. We offer implications for the inclusion of arts and translanguaging in multiple disciplinary areas.

The "Wandiny" creative gathering of Indigenous and non-Indigenous poets, artists, Elders, and participants across Australia actively sought to foreground First Nations voices, stories, poetry, art, and ontology. This paper presents the auto-ethnographic reflections from the event organisers, demonstrating that participation in a gathering that honours Eldership and Country is a profoundly personal and spiritual experience. Following a call-and-response format, the event promoted deep listening and responsive writing contributed to a cultural sense of being and understanding.

This article seeks to illustrate the outcome of entering partnerships with open and flexible goals and lines of communication. Two unique, long-term partnerships at a medium-sized, regional museum of art and science are described, with details of the impact of these partnerships and different audiences served. Using current research on best practices for community partnerships and anecdotal information, the article outlines ways to enter open communication with community partners and what to expect out of long-term partnerships.