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Traditional pattern teaching is an essential part of cultivating artistic quality, which is confronted with cognitive and motivational problems of teenagers. As a teaching strategy, schema theory attaches importance to the students' knowledge construction, which can reduce the cognitive difficulties caused by the increase of knowledge difficulty. This theory is often used in traditional teaching methods. Serious game is a new carrier that has emerged in recent years, it pays attention to experience and immersion, promising to improve artistic learning and motivation. Therefore, this research attempts to extract the characteristics of schema theory to guide serious game design to learning traditional patterns. The specific objective was to investigate how schema and game were connected and explore the impact of games compared with multimedia courseware on students' performance, motivation and cognitive load. The study involved two groups of students who used serious games and multimedia courseware in the same experimental environment. The results indicated that schema can be better integrated into the game, and the game also accelerated schema construction. Moreover, the game has advantages in acquiring and retaining knowledge, optimizing intrinsic motivation and cognitive load.

African American artists have participated in every major art style and movement since before the founding of this nation. However, until recent decades, this "grand epic" had been marginalized within the traditional survey canon of American art. Art historians have undertaken considerable scholarship (Bearden & Henderson, 1993; Farrington, 2011, 2016; Jenkins, 2022; Lewis, 2003; Patton, 1998) over the past several decades to address a gap in the field's literature. In this article, Mary Soylu examines an art history project at a Historically Black College or University (HBCU) in Alabama that recognized the need for (1) pedagogical innovation in art history and (2) increasing the visibility of African American artists within the canon of American art history.

We demonstrate the ways an improvisational dance workshop provided the opportunity for university students to be autonomous actors and engage in embodied sense-making through dance--two key parts of the conceptualization of enactive cognition. As part of a Design-Based Research project, we use Interaction Analysis to present examples of using autonomy in dance learning in a public art museum. We describe the interactions of one pair of novice dancers engaging in two designed dance activities, and how their improvisational dancing highlights the ways in which dance is a tool for sense-making. This research explores dance as both the content and context for learning, deepening the conceptualization of 4E cognition in dance education.

Internationally and nationally, government and educational policies prioritise wellbeing to support education. Social-emotional learning (SEL), a frequently used term for wellbeing in the United States of America (USA), comprises accrued skills enacted over time. This article presents the findings of an arts-based narrative inquiry exploring eight primary school children's experiences of the five foundations of the social-emotional and academic learning program "You Can Do It (YCDI) Program Achieve." YCDI is a structured classroom-based programme where children are taught explicit SEL skills through lessons based on the five programme foundations, or SEL competencies, of "Organisation," "Confidence," "Getting Along," "Persistence," and "Resilience." Using a three-dimensional, narrative inquiry framework, the researcher addresses two questions: What impact did the YCDI programme and its foundations have on the children's lives on and off the school landscape? What are the implications for the future implementation of the YCDI programme? Through the presentation of children's narratives, this study provides insight into how YCDI improved the children's SEL skills and wellbeing. It also prompts important questions for those considering the program's implementation in the future.

Employing a modified version of an exhibit template for course integration (Beckman 2012), Sylvia López designed museum projects for an elective Spanish course on health that is open to students at the high-intermediate level and above. The course's aims are manifold: to build students' vocabulary, to discuss cultural aspects affecting health, and to help students develop a series of transferable academic skills--collaboration, critical thinking, writing, information literacy, and presentation. To help fulfill these goals, the course culminates with a bilingual exhibit of anthropological artifacts or Hispanic art related to health and medicine. In this article, she shares the steps and assignments performed over fifteen-week semesters that allow students to research and discuss objects as they function as student curators. Her aim is to show how experiential learning through the integration of object-based learning (OBL) into classes, whether dealing exclusively with health or not, can help them meet the World-Readiness Standards or 5Cs: Communication, Cultures, Connections, Comparisons, and Communities.

By considering the position of education as a pharmakon, highlighting its potential positive and negative effects on societies by its technical unfolding, the article proposes to explore the political and pedagogical role that public and collective performances can have within the public sphere as political devices for promoting and enacting radical democracy. To this end, it analyzes a contemporary collaborative artistic practice, the performance 'Un Violador en Tu Camino' ('A rapist in your path') by the feminist collective LASTESIS from Chile, through two main philosophical perspectives: Bernard Stiegler (1952-2020), and his approach to technology, to art, and education in human societies; and Oliver Marchart, coming from his conceptualization of art and activism through the notion of conflictual aesthetics.

In this paper, we are juxtaposing the notions of cosmopolitanism and koinopolitanism, to sketch a theoretical perspective in which local productions of knowledge, as a binding force of local communities, can meet more abstract regimes of knowing and more global concerns of democratic elites. We see this issue as politically significant in light of the current problems with democracy which we interpreted as resulting, among other factors, form the lack of connections between those regimes of knowing. The crucial part of our argument is that socially engaged art is capable of effectively building such connections, and we analyze community-based artistic interventions by Agnieszka Wolodzko in this perspective.

Pandemics are rarely experienced in anyone's lifetime, but events of such scope are not uncommon in the larger map of human social history (Quammen, 2012). A health crisis triggered by the outbreak and rapid spread of the SARS-CoV-2 novel coronavirus rippled across the globe from 2020 to 2022, in a paroxysm of disruptions to all normality to which most individuals had become accustomed in their daily living. But there is always something to be learned from such events that stop us in our tracks, catapult us into the unknown, and heave us unceremoniously atop the wreckage of all we have ever known. After a disaster strikes, gathering ourselves for the cleanup and recovery requires perspective. A global pandemic. An environmental catastrophe. A personal failure. How do we gather ourselves and make something from a pile of nothing?

After generations of codifying curriculum, the Reconceptualization turned away from codified curriculum to better understand curriculum. Just as before the Reconceptualization, problematic curricula continue to proliferate creating a troubling inheritance. This paper turns to one such troubling inheritance, the problematic curriculum of Hirsch et al. (2002). Recognizing the field's limited influence in large-scale curriculum development, this paper considers what it might mean to "accept (some) educational responsibility" for a troubling inheritance. Drawing on the concept of the anarchive, both that which is left out of archives and the surplus value of archives, this paper develops an approach to anarchival assemblage art with problematic curricula. While the field's relationship with schools provides a source of simmering conflict within the field, this paper argues for an experimental approach to the troubling inheritance of problematic curricula, reactivating it in new events to find out what else it might do.

The Volkskundemuseum (Austrian Museum of Folklife and Folk Art) in Vienna considers itself to be a thoroughly democratic, polyphonic museum in which not only cooperation partners but also the interested public have their say. But what role does academically researched information play? In the project "Speaking of Objects" participants took a close look at selected objects themselves and produced new narratives to share with the public through self-made podcasts. The project was led by Austrian artist group "gecko art." In another project queer stories were invented for the performative tour entitled "Queer local history" by members of QWIEN -- Center for Queer History. The stories drew attention to the heteronormative interpretation of the museum curators of the 1990s, or as Andreas Brunner and Hannes Sulzenbacher said: "One invents the homosexualization of the object, just as the museum or the curator invents the heterosexualization of the object." In this contribution we not only present but also question the mediation methods that are full of fiction. The question raised here is if and when it is valid to invent stories about objects that could be mistaken for truth by the public.

Museum communication spaces in art education enable a setting for education work that activates and involves the visitors. With appreciation, respect, and awareness, safe spaces for open communication are created. The text negotiates the framework of what we talk about, who determines and defines the negotiated topics. It is important to be aware that art educators always take a stance. In their work, they can no more act objectively than the museum can be neutral. It is only in this open communication space that it becomes possible to reveal facts, fiction, fakes, and alternative facts and to use the museum as a discursive social space.

The idea of a sign language town, or a Deaf utopia, where Deaf and signing people can come together to live in a geographical or figurative homeland has long persisted in US Deaf life, letters, and literature. In the wake of the Milan Congress of 1880, Alexander Graham Bell's alarming rhetoric concerning "a deaf mute variety of the human race" and the "campaign against sign language," the idea of a homeland, and a Deaf commonwealth took on additional resonance. However, in the absence of geographical sign language towns, utopian and figurative homelands then became an important possible alternative through a communal shared space formed through language, culture, and customs. Homelands for Deaf people can extend to both physical spaces like Deaf schools and Deaf clubs or metaphorical and creative spaces, as in Deaf literature itself. Additionally, this article uses the proclaimed "first Deaf culture novel," Douglas Bullard's "Islay: A Novel" (1986), about a fictional Deaf republic, as a brief case study of several different overlapping cultural, social, artistic, and literary movements; written Deaf literature before and after this novel is, in some ways, markedly different, and in other ways, much the same due to the ways in which language and modality schemas are invoked in imaginative literature written in English. This study provides additional literary and cultural context for "Islay" as well as a brief history of Deaf creative writing in prose in relation to key mid-to-late twentieth century Deaf cultural and social movements.

Research exploring the benefits of Mindfulness-Based Interventions (MBIs) with youth is emerging and promising for the improvement of resiliencies. We developed an arts-based mindfulness intervention to make learning mindfulness accessible for children who had experienced trauma. Arts-based methods are engaging, enjoyable, and developmentally relevant. Previously, we found benefits of participating in this MBI for children aged 8 to 12 years. Herein we discuss research in which we explored the benefits of this MBI for adolescents who were experiencing challenges with schooling; 146 youth completed the program. Our research question asked whether the MBI was beneficial and/or effective for these youth and, if so, what were these benefits and how did these benefits assist youth to cope? Benefits were explored via reflexive thematic analysis (TA) of pre/post-intervention, and follow-up individual interviews with youth. Effectiveness was assessed by analyzing pre- and post-intervention scores on youth self-report inventories measuring mindfulness and resilience, as well as responses from caregiver assessments of behavior/coping. To assess if there were changes in responses across timeperiods, a series of repeated measures ANOVA were employed. Quantitative findings were mixed in that the youths' self-report scores measuring resilience showed limited improvement while mindfulness showed no significant change. However, parents' perceptions regarding their child's behaviors indicated significant improvements in social competence and both internalizing/externalizing behaviors. Similarly, the thematic analysis suggested improvements in youths' self-awareness, self-judgment, thinking, mood, ability to make choices, social skills, coping, and emotion regulation. The results are promising and warrant further investigation of arts-based approaches to facilitating mindfulness with youth.

This article evaluates the impact of an Art-based program, which consisted in bringing artist to do workshops in public schools, on academic achievements, creativity (i.e., the skill) and the external manifestation of creativity in action (i.e., creative behaviors). The main contribution with respect to previous literature is a quasi-experimental design--propensity score matching--that makes the causal link between these aspects more plausible, and which had a sample of 297 children between 14 and 16 years old. Four main findings are derived from the empirical investigation. First, substantial practice is crucial. Participation in at least two semester-length workshops is a necessary condition to observe significant impacts. Second, participation has a significant impact on academic achievements. Grades increased by 0.61 standard deviations (sd) for language, by 0.36 sd for math, and by 0.33 sd for art. Overall GPA increased by 0.55 sd. The program also increased participant willingness to consider postsecondary education. Third, the impact of the art-based program on various innovative graphical psychometric measures of creativity was positive and significant. Fourth, related to creative behaviors, the program had a positive impact on certain cultural activities, such as time spent watching films at home and creating cultural goods (e.g., handicrafts, poetry, music). In conclusion, our study presents substantial evidence on the effective enhancement of creativity, the fostering of creative activities, and the improvement of academic performance through the deployment of art-based programs.

The beauty of Pua Kumbu is not merely a cultural expression but it also represents the wealth of information to pass from one generation to another. The art of creating Pua Kumbu design motifs is based on the body of knowledge gathered through collective memory, and the conservation of Pua Kumbu's knowledge and history. The aesthetic perception stimuli from the audiences are complicated cognitive processes. Hence, this study aims to measure the aesthetic perception of 400 participants on design motifs applied on the cloth according to their gender and background using ARS-Revised [Art Reception Survey-Revised] questionnaire. The findings revealed that female participants exhibited a greater knowledge of Pua Kumbu compared to their male counterparts. Participants from Sarawak perceived higher in cognitive stimulation, knowledge, and self-reference which indicated that they were more likely to be knowledgeable about Pua Kumbu. Participants from Sabah demonstrated the lowest in both cognitive stimulation and expertise despite Sabah being situated in the same region as Sarawak in Borneo. Gender and background of the participants are concluded to exert significant influence on the knowledge in Pua Kumbu design motifs. Knowledge of Pua Kumbu is crucial for the appreciation of aesthetics in preserving the culture and heritage of Sarawak, Malaysia at its best. The findings of this study may interest scholars and researchers in the unique Malaysian heritage.

The goals of this research are: 1) to substantiate the conceptual content and introduce into the terminological circulation of the philosophy of culture the concepts of "nihitology of culture" and "nihitogenesis"; 2) to substantiate the intensification of ontologization of the negative in the second half of the XX century and the present. Data were achieved using observation and description of the behaviour of modern man in virtual and real cultures; hermeneutic analysis of observation results, as well as a description of the results of virtualization and simulation of modern culture. The article extrapolates the ontological method to the aesthetic and social spheres. Research results are as follows: 1) the following metamorphoses of non-being in the space of culture being have been discovered: anthropologization of the negative; semiotization and aesthetization of non-being; "hollow" attitudes of everyday worldview and individual experience of inner devastation; production and consumption of simulacra; virtualization of cultural reality; 2) the processes of diminishing or even loss of reality are associated by the author with various factors, such as: the transition from the individual's solid identity to its "fluid" form, and ultimately to the loss or destruction of identity; the ongoing destruction of the integrity of "ego"of a modern subject. This is expressed in the fall of stable norms, including ethical ones, in the absence of a single anthropological ideal and in highlighting visibility in the form of "flickering of countless guises", "masks"; an increase in the volume of simulacra in the spheres of media, art, morality, religiosity, and in everyday life as well; active interest in negative entities manifested by postmodern art; loss by a person of a sense of spiritual security, compensation for this loss by hedonism, unlimited consumption of material goods; communication virtualization, etc.

Faced with accountability pressures and limited resources, education policymakers make difficult choices regarding school curricula. In recent years, studies have documented a decreased emphasis in arts and humanities instruction. One potential way for schools to fill this gap includes partnering with arts and cultural organizations to provide arts learning opportunities through arts integration, yet there is limited evidence on the effectiveness of such programs. We examine one such partnership by evaluating the efficacy of a program that infuses history content with theater. By randomly assigning school groups to participate in this program, we are able to draw causal conclusions about its effects. We find that students demonstrate increases in historical content knowledge, enthusiasm for learning about history, historical empathy, and interest in the performing arts as a result of this program. These findings suggest that there are valuable educational benefits from arts-integrated learning opportunities provided through school partnerships with arts organizations.

The aim of the study is to develop a valid and reliable scale in order to determine the ideational and social contribution of art to politics. The 5 point likert scale was applied to a total of 891 university students studying in different departments of a state university. As a result of exploratory factor analysis (EFA) and confirmatory factor analysis (CFA), it was found that the scale consisted of twelve items and was collected under two sub-factors. Factor loads of the scale items were found to range between 0.571 and 0.818. In addition, the variance rate explained by two factors was calculated as 58.397%. The x2/df value of the scale was calculated as 1,944. Other concordance index values were calculated as CFI= 0.962, TLI= 0.952, RMSEA= 0.066, SRMR= 0.0546. The Cronbach-Alpha internal consistency coefficient was calculated as 0.893 for the overall scale; 0.862 for the first sub-factor and 0.842 for the second sub-factor. Item-total score correlation values of the scale items ranged between 0.538 and 0.655. These results show that SISCAP can be used as a valid and reliable measurement tool.

The constant development of digital technologies has allowed living in a digital environment based on connections, also transforming the context of the educational process. Experiences show that digital technologies have influenced the way of learning and, consequently, the way of teaching. Learning in the digital age is a complex process since it is a multifaceted and diverse action. The aim of this research is to identify global trends in digital education and its link with the learning of artistic and visual education in higher education settings, during the period 2000-2019. For this, bibliometric techniques have been applied to 1291 documents, obtaining results from the scientific activity of the main authors, research institutions, and countries that promote this topic. The data show increasing relevance, particularly in the last three years. The main subject area is the social sciences. The study has detected the lines of research that are related to the Internet, education, visuals, computer programs, learning, digital media literacy, and educational technology. This work contributes to the academic, scientific, and institutional debate to enhance decision-making based on existing information.

This study focuses on the effect of globalization on university ranking and current developments and challenges that HEIs face in the global higher education market. It provides detailed information about the origins of international ranking systems, diversification of university rankings and strategic planning of higher education institutes. Moreover, this study describes the global university classification, continuous exposure to elite universities, neglect of the humanities, arts and the social sciences researches, limited description of methods and indigent metrics. The expected effects on ranking system amid the COVID-19 crisis are mentioned which are widely being discussed by the researchers. The study concludes that there is a threat that universities which are investing time and money in accumulating and using statistics and data for the sake of improvement in their performance for the rankings may destabilize themselves from the development in other areas such as learning, teaching or community involvement.

During an eight month period in 2019 the researchers conducted case study classroom-based observations and pursued conversations with ten study abroad participants from four Fulbright-Hays study abroad programs (India, South Korea, Israel, SeneGambia). Observing, documenting and reflecting on the translation of global to local and local to global academic, cultural and pedagogical insights in the work of the preservice and in-service teachers is the focus of the grounded theory qualitative research study. Global experiential learning for college students is repeatedly described as transformative, while research studies have indicated the difficulty in identifying specific outcomes of short term study abroad experiences. By working with preservice and in-service teachers, this qualitative case study researches new conceptual perspectives and quotidian meaning-making practices in actual classrooms. The coded grounded theory case study research details turn-key classroom activities and reflections on four select themes of multilingualism, gender/racial diversity, holocaust/genocide education/social and emotional learning, and the universal language of technology and the arts framed by conceptual understandings of cosmopolitanism and critical consciousness.

This article questions the use of the term 'siloed' to describe certain degrees or subjects in the Australian university curriculum. Education Minister Dan Tehan used the term as part of a justification of a re-set of funding priorities for university education from 2021 which he announced in June 2020. The Minister partly turned his argument on the floating of an impression that humanities degrees are 'siloed'. They or, more specifically, units within them, would become more expensive for students since 'job readiness' needs to be prioritised. The author analyses the term, its uses and applications to fields of knowledge, and concludes that such a term is neither accurate nor useful. He suggests that focusing on needs arising out of the COVID-19 pandemic might provide a less conflicted and future-oriented way of thinking about the problem rather than making superficial judgments of the merits of particular undergraduate degrees as a foundation for dictating education and education funding policy.

Although environmental aesthetic has received considerable attention in recent years, there is a need for measuring and evaluating environmental aesthetic. With considering this gap in the literature, the purpose of this study is to develop the "Scale for Environmental Aesthetic Awareness" for university students and to compare students' levels of environmental aesthetic awareness according to gender, interest in art and the place where family lives. The study group is comprised of 969 university students. For conducting the validity study of the scale, the study group was randomly divided into two: Exploratory Factor Analysis group and Confirmatory Factor Analysis group. After the elimination of outliers, 329 students remained in the EFA group and 255 students in the CFA group. As a result of EFA, 27 items were gathered under three sub-dimensions. As a result of the first-order and second-order CFA, it was seen that the model-data fit was achieved and the three-factor structure of the scale and its general structure were confirmed. The Cronbach Alpha reliability coefficient of the first, second, third sub-dimensions were calculated respectively as 0.80, 0.71 and 0.71. The Cronbach alfa coefficient value for the whole scale was 0.82. Three-way variance analysis results showed that the effects of gender and the place where family lives were not found to be statistically significant while the effect of interest in art was found to be significant; thus, the mean of the students stating they were interested in arts was found to be higher.

The COVID-19 pandemic has once again revealed the urgent need to address ongoing injustices at every level of U.S. society. In this article, we combine visual art, research, and storytelling to discuss the need for such systemic change within schools, specifically focusing on the effects of discrimination against students who speak languages other than English. The authors draw on their own lived experiences, research, and artistic expression to make an argument for turning to creative, arts-based practices and diverse linguistic and cultural representation within classrooms and curriculum. The authors' reflections and artistic contributions demonstrate the importance of using the arts to validate, embrace, and learn from the fullness of students' creative, critical, and linguistic repertoire in the fight for justice within and beyond schools.

The need to improvise and take action as a practitioner draws on Schwab's notion of deliberation and the Greek concept of poiesis. Inspired by an impromptu discussion with students at a computer summer camp, the author uses the works of Sarason, Eisner, and Stenhouse to show how practitioner performance, student audience, educational inquiry, teacher as researcher, and curricular change are interrelated.

In "A Long Poem: Take Time to…", I relate how the people on one city block engaged in a community based "long poem" art project during the COVID-19 pandemic. Arranged in two parts, this paper first looks at the literature on community art and its impact on personal and social health and wellbeing. Second, I describe how a street community art and poetry project led to social engagement, dialogue, healthy interaction, and good memories.

Much has been written on the history of Abeokuta and their artworks since their occupation of Abeokuta. Yoruba works of art are in museums and private collections abroad. Many museums in the Western part of Nigeria including the National Museum in Abeokuta also have works of art on display; however, much of these are not specific to Abeokuta. Writers on Abeokuta works of art include both foreign and Nigerian scholars. This study uses historical theory to study works of art collected and preserved on Abeokuta since inception of the Egba, Owu and Yewa (Egbado) occupation of the town and looks at implications for development in the 21st century. The study involved the collection of data from primary sources within Abeokuta in addition to secondary sources of information on varied works of art including Ifa and Ogboni paraphernalia. In particular, this research unravels a mix up in international documentation of Abeokuta works. The study also shows that very little has been done to improve on indigenous technologies through introduction of modern machinery for production. Recommendations are made for improving production to promote tourism and industrialisation without undermining the cultural identity of the people.

This research study was conducted with twelve students from the Modern/Foreign Languages program at Universidad Pedagógica y Tecnológica de Colombia. It was aimed at unveiling EFL students' perceptions on Gender Stereotypes through their narratives in three different moments. Focus group interviews, field notes, and students' artifacts were used as data collection instruments. Data was analyzed under an interactional analysis proposed by Riessman (2005). Findings showed that students' lived experiences on this issue have permeated over the time the way they see their present and future; and their perceptions on gender stereotypes differ from their past generations as they consider themselves as a new generation who does not see any distinction among genders.

The goal of this study was to elicit greater quantity and quality of output in speaking and writing from L2 Spanish students through Visual Thinking Strategies. Previous studies completed in the L1 classroom demonstrate that students exhibit gains when pairing whole-class discussion with writing, thus inspiring this present study. As such, thirty-two Spanish IV (intermediate) students in a rural high school in the United States participated in this study that lasted eight weeks. Control and experimental groups were established to rule out additional variables. Through Visual Thinking Strategies, students in the experimental group discussed authentic artwork on multiple occasions through a teacher-facilitated discussion, followed by individual writing about the piece of artwork. Results of the study showed statistically significant growth among the experimental group in writing through measures of word tokens, word types, word tokens per sentence, and clauses per sentence. Furthermore, very large effect sizes were present. Regarding speaking, data reflect that students in the experimental group greatly outperformed their counterparts in quantity of L2 production as well in words per utterance. These results suggest that Visual Thinking Strategies may be a worthwhile strategy to incorporate into the L2 classroom as way to facilitate students' growth in these areas.

This theoretical study deals with interconnecting learning tasks of art education with the parent discipline of art education (that is, with the artistic field as defined by Pierre Bourdieu, 1996), while reflecting on the quality of art lessons in the Czech Republic. The authors draw on current theoretical and empirical research of quality that identifies individual quality factors. The most salient factors are the connection with the artistic field and the resulting ability of conceptual integration, together with curricular normativity, the intentional work of the teacher with educational content, characteristics of teaching such as the support of divergence, creative approaches, associativity, imagination, reflection, searching for intersections between pupils' experience and the content of the subject, etc. The text also emphasises the fact that judgement on the quality of learning tasks should be based only on ontological-didactic and psychological-didactic aspects. The former relate to the cultural and artistic context of learning tasks, that is, the current values in the field of visual culture and the artistic field, while the latter consider the personal characteristics of each and every pupil.

In recent years, several innovations have emerged in the field of education, including Blended-Learning, Massive Open Online Courses, Flipped Classroom and Gamification. In particular, several investigations have highlighted the effectiveness of student response systems, or clickers, in different subjects and disciplines. Although some literature reviews have been published on this subject, none of them offer a review of a large volume of publications from a multidisciplinary approach. Similarly, in the literature there are no studies that have analyzed scientific collaborations on this subject. To respond to these concerns, we proposed the use of a bot to retrieve information from a large number of papers (1696 documents co-authored by a total of 4091 researchers) included in the Scopus database. The disciplines covered include natural sciences, engineering and technology, medical and health sciences, agricultural and veterinary sciences, social sciences and humanities, and the arts. The review of the literature reveals that student response systems are generally well-perceived by teachers and students in all the disciplines. Another interesting result achieved from visual data obtained using network visualization software and word clouds is that student response systems are mainly used in some disciplines, such as physics, chemistry, medicine, and nursing. It is clearly observed that the relationship between researchers from the same country is stronger than between researchers from different countries. Finally, some reflections are included on the role of student response systems in online teaching, especially regarding the changes experienced after the COVID-19 pandemic.

Although biochemistry is fascinating to undergraduates regardless of their major, the complexity involved requires a great deal of effort and leads many to perceive it to be an intense, facts-based course limiting personal creativity. This activity takes the fundamental knowledge associated with inducible promoters and combines it with the creativity of the student to make interesting art pieces. Using this hands-on activity, students will be able to explain the difference between a constitutive and inducible promoter, investigate how inducible promoters are controlled, and explore how different fluorescent proteins are expressed at different rates and intensities, thus affecting an individual's artwork. While this activity was designed to deepen students' understanding of promoters, it can also be used as an introductory instructional tool for discussing recombinant DNA and fluorescence in biochemistry lecture and lab courses. This activity maintains room for student innovation and is well-suited to upper-level undergraduates in biochemistry courses.

Researchers used content analysis to analyze 40 award-winning and "best of" children's picture books that portray refugees to answer the questions: How are refugees depicted in picture books? What messages are embedded in those depictions? Results show patterns and themes regarding depictions of trauma and violence in conjunction with setting as well as the portrayal of the arts as a vehicle for refugees to ignite personal agency in coping with the trauma they experienced. Implications for practice are discussed.

Public art is placed in relation to its surroundings, conveying messages that are open to interpretation and thus proposing conversations between art/aesthetics, geography, histories and the subjectivity of the viewer. As such, it can engender possibilities to 'politicize our relations with place'. Embracing the vision of a multidisciplinary assignment for an introductory course on place relations for first-year students in a Canadian teaching university, the authors designed an assignment of living inquiry with public art. The students placed themselves in relation to the art piece by studying the surrounding area of the artwork, embracing the propositions of the piece, and responding to those propositions artistically and through writing. What does it mean to live on Indigenous land? It was imperative to introduce conversations about the different but interconnected concepts of place and land that house public art pieces. The authors envisioned teacher education beyond the limits of a positivist dominant developmental lens that constrains holistic and critical possibilities to embrace decolonial acts. They asked: How might pre-service education disrupt the colonial inheritance and practices rooted in early childhood education? The students critically reflected on their geopolitical position, the contemporary issues of our time and the implications for their journey of becoming educators.

This paper shares the stories of Latina mothers and daughters as they participarted in Somos Escritoras, a creative space, that invites them to write and perform stories from their lived experiences. At workshops, girls and their mothers crafted writing and created artwork that examines and critiques the many ways to express and define themselves. Findings highlight the ways that mothers and daughters engaged in "literacies of convivencia," [communalism], through the crafting and sharing of intergenerational stories, knowledges, and histories to cultivate a community of writers authoring their lives as mujeres/chicas on their own terms.

Initial teacher education programs regularly engage students in service-learning programs, providing an additional pathway to personal, professional and pedagogical transformation in their learning journey. One of those pathways is through service-learning placements in community arts projects. This paper reports on a study of arts-based service-learning programs at two universities. Eight initial teacher education (ITE) students were interviewed after their placements and a number of key themes emerged. These include the importance of productive discomfort as part of the service-learning experience and transformative pedagogy resulting from the art-based experience. This paper also explores some critiques of traditional service-learning models that have opened spaces for critical service-learning approaches. The analysis of ITE students' narratives led to findings about the path of transformation from traditional to critical service-learning approaches through arts-based projects, an area which has been largely unexplored in previous research. The paper concludes with discussion of future avenues for related research that orientate service-learning in the arts towards social and creative justice.

A socially engaged art project conducted in Malta in 2021 brought together a group of participants from different sub-Saharan African countries with artists and researchers to promote civic engagement and cultural inclusion and understand how participants' ideas could be promoted and discussed beyond the workshop. This article addresses one of the project's central themes--citizenship--and argues that democratic participation is enacted in the actual processes of social practice in art. Informed by the principles of Global Citizenship Education, the article highlights its references to human solidarity, empathy and sustainable development and distinguishes them from a notion of citizenship that is framed within the legal, political and physical boundaries of the nation-state. While the segregation of non-citizens in contexts like this can interfere with the development of voices of resistance and a sense of agency among migrants, the article explains how principles of Global Citizenship Education can enrich socially engaged practices in art and education by subverting fixed citizen identities in the performance of pedagogical processes and acts of presentation.

Data literacy is a growing area of focus across multiple disciplines in higher education. The dominant forms of introduction focus on computational toolchains and statistical ways of knowing. As data driven decision-making becomes more central to democratic processes, a larger group of learners must be engaged in order to ensure they have a seat at the table in civic settings. This requires a rethinking to support many paths into data literacy. In this paper we introduce "data theatre," a set of activities designed for data novices that may have limited experience or comfort with spreadsheets, math, and other quantitative operations. Through iterative co-design over three workshops, we tested and produced two activity guides for educators, building on long-standing practices in participatory theatre that center social justice and liberation. Our initial findings provide very early evidence that this approach can help these learners overcome hesitations to working with information, begin building a critical perspective when viewing data, and create emotionally impactful data stories told through theatrical performance. This prototype work suggests to us that the concept of "Data theatre" warrants further study to build a more robust understanding of its affordances and limitations.

Many Canadian immigrant seniors living independently in Canada face unique challenges such as language barriers, adjusting to a new culture, and isolation from friends and family. Within the context of the COVID-19 pandemic these issues have become more complicated. This article explores a form of arts-based research (ABR) as an inquiry into ways that COVID-19 has impacted immigrant seniors in Vancouver, Canada. We situate our inquiry within action research (AR) and explore new methodological possibilities stimulated by merging artistic engagement within the inquiry. Our research is mobilized through two gallery exhibitions of "Letters to COVID": an invitation to visually reflect on seniors' experiences. We consider what we might do to facilitate support for these citizens, inviting the public to rethink perceptions and strategies of social inclusion and support for immigrant seniors living independently in Canada.

As scholars work to decolonize educational research, new methodologies are needed. In this paper, we present our conceptual premises for a new paradigm, social portraiture, which combines participatory action research (Freire, 1982) and portraiture (Lawrence-Lightfoot & Hoffmann, 1997), and extends to include archival records and social art. This democratic approach integrates student participation, community engagement, and social change, coalescing into an integrated portrait of human experience in education. Our ideas contribute to foundations in arts-based methods in participatory action research, seeking transformative change in educational world views, ways of knowing, and institutional ways of life.

This paper explores an arts-based practitioner action research study that explores the artworks made by students from a Grade 11 History of Canada course in response to teaching and learning about the First World War. The practitioner considers the art-things (Bennett, 2015) of his students and the associated thing-power (Bennett, 2004) affordances. The work was informed by a rhizomatic methodology (Deleuze & Guattari, 1980/2000) that illuminated insights arising from interpretation and analysis of the educative assemblage and its concrete and abstract constituents and forces. The practitioner's action research was informed by newness, unexpectedness, and difference (Deleuze & Guattari, 1968/1994) drawn from engagements with the students' art-things and artist statements, which in turn enriched the personal and professional knowledge and educative practices of the author as well as his students' learning because of knowledge drawn from this inquiry.

Understanding the profiles of communication students offers meaningful information for the design of satisfactory academic programs which enhance their skills and orientate their future professional careers. This research studies the relationship between creativity, personality, and relation to art of 126 Singaporean communication students. It gathers psychometric evidence for the K-DOCS, analyzes its relationship with personality, and proposes an orientation toward arts scale. Main results show that these students relate art to self/everyday, scholarly, and artistic creativity. Also, there is a link between their personality (agreeableness and openness) and creativity (self/everyday, scholarly, and artistic) in the relation to art.

Data-art inquiry is an arts-integrated approach to data literacy learning that reflects the multidisciplinary nature of data literacy not often taught in school contexts. By layering critical reflection over conventional data inquiry processes, and by supporting creative expression about data, data-art inquiry can support students' informal inference-making by revealing the role of context in shaping the meaning of data, and encouraging consideration of the personal and social relevance of data. Data-art inquiry additionally creates alternative entry points into data literacy by building on learners' non-STEM interests. Supported by technology, it can provide accessible tools for students to reflect on and communicate about data in ways that can impact broader audiences. However, data-art inquiry instruction faces many barriers to classroom implementation, particularly given the tendency for schools to structure learning with disciplinary silos, and to unequally prioritize mathematics and the arts. To explore the potential of data-art inquiry in classroom contexts, we partnered with arts and mathematics teachers to co-design and implement data-art inquiry units. We implemented the units in four school contexts that differed in terms of the student population served, their curriculum priorities, and their technology infrastructure. We reflect on participant interviews, written reflections, and classroom data, to identify synergies and tensions between data literacy, technology, and the arts. Our findings highlight how contexts of implementation shape the possibilities and limitations for data-art inquiry learning. To take full advantage of the potential for data-art inquiry, curriculum design should account for and build on the opportunities and constraints of classroom contexts.