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In this research, I explore the potential of a material-led, embodied pedagogical approach to cultivate diverse modes of thinking, knowing and becoming within a pre-GCSE curriculum. Drawing from my experiences as both an artist and educator, I acknowledge the transformative power inherent in recognising the agency of all forms of matter, whether human or non-human. Through the implementation of a project titled 'To Play,' which utilises paper as a primary pedagogical tool, I engaged Year 9 Art and Design students. Qualitative data collected over a six-week period underpins the analysis, with a particular emphasis on understanding students' experiences with material-led processes. The findings highlight the potential of material-led pedagogies to empower students and challenge anthropocentric perspectives, offering valuable insights for enhancing pre-GCSE art education and harnessing the educational potential of materials. This study contributes to the ongoing discourse in art education by emphasising the importance of embodied, experiential learning approaches that prioritise creativity, exploration and critical engagement with the world around us.

An autoethnographic exploration of identity formation raises the question of how individuals inhabit, negotiate, accommodate and resist the social groups to which they belong, continually coming to terms with who and what they are. This paper discusses, through this researcher's autobiographical exploration, the ways in which pedagogical discourse and practice produce identities that are constructed within the broader sociocultural context of arts education. As an art educator who has been learning and teaching in the Korean sociocultural context since the 1970s, I have experienced the struggle between my identity as an artist and my identity as a teacher amidst the changes in educational ideology reflected in the Korean national curriculum, which is a set of pedagogical discourses and practices that are constructed within a particular sociocultural context. It can be said that my autobiographical narration has important implications for the practice of art education in connecting individuals and society in an ambiguous and complex future society by enhancing theoretical understanding of wider social phenomena. In this paper, the narrative interpretation of my changing identity as an artist, an art teacher and a teaching artist provides a timely insight into identity shifts in how the artwork we encounter and our perceptions of art are shaped and transformed by our own cultural experiences and recollections of our own personal experiences within the interconnectedness of art and education across time.

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

Demetrius Fuller developed the HOMies, eight characters who represent eight habits of mind for learners, while he was an art teacher at a Massachusetts elementary school. When students began talking about the HOMies outside their art class, the initiative spread across the school. Linda Nathan, Demetrius Fuller, and Nate Meyers describe the HOMies and unpack the key ingredients involved in scaling a good classroom practice throughout an entire school. They look at the role of involving teachers from different subject areas and with different perspectives in the program. This example shows how teachers and leaders can ensure that innovative ideas can be shared and sustained so that schools can continually evolve to find ways to meet student needs.

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

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

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

The purpose of this study was to describe music teacher professional development (PD) in the United States and to chart potential differences between the experiences of music teachers, other arts teachers (visual art, theater, dance), and teachers in low-stakes (natural and social sciences) and high-stakes (math, English language arts) academic disciplines. Using data from the 2017-2018 National Teacher and Principal Survey, I evaluated PD practices, perceptions, and policies against six consensus criteria for effective PD: content specificity, social interaction, sustained duration, relevance, agency, and policy support. Findings showed music teacher participation in content-specific and socially interactive PD was robust and that the vast majority of music teachers described their PD as relevant. Cross-comparisons revealed discipline associations as to some criteria (social interaction, relevance, agency) but not others (content specificity, sustained duration, policy support). Although music teachers achieved parity or were advantaged in some areas (e.g., access to content-specific PD), they consistently reported less access to socially interactive PD, spent less overall time in PD, and were considerably less likely to exercise agency in support of their PD endeavors. Music teachers--along with their art, theater, and dance colleagues--generally, although not overwhelmingly, operated on less favorable PD terrain in 2017-2018.

The aim of this study was to describe the design process of an educational board game, the Planet-Dart. This board game design is based on the science curriculum and aims to enhance middle school students' basic concepts about solar system. The purpose of developing this educational game was to provide an entertaining way for learning science. A pre-service art teacher designed the game with the support of two pre-service science teachers. The pilot study was conducted with two middle school students, and with the feedback based on the pilot study the pre-service art teacher made modifications to the game. Then, the main implementation of the game was conducted in a real-classroom environment with 60 middle school students by one pre-service science teacher and two science teachers. The qualitative results revealed that this game was an enjoyable and effective learning tool to play among middle school students. In addition, the pre- and in-service science teachers emphasized that there was an entertaining learning environment during the play. Based on these findings, the developed educational board game could enhance students' learning outcomes and entertainment.

A team of literacy, science, and theatre educators have been working to engage children in an urban public school system in the United States through embodied performances, where students embody and dramatise science ideas. This study focuses on one fourth-grade classroom when instruction was done remotely due to Covid-19. Children in the class were asked to compose videos of themselves acting out and/or exploring science phenomena and concepts, and we analysed the affordances of these multimodal compositions. We situate the need for this study in claims from the Next Generation Science Standards that literacy skills are necessary to build and communicate science knowledge. In doing so, we center social semiotics perspectives that conceive of composition broadly as production-oriented processes drawing from various semiotic resources. The multimodal compositions in Mr. M's science class included both primarily embodied compositions and primarily digital compositions, and we elaborate on one focal example of each in the findings. Intertwined affordances of the focal children and their classmates' multimodal science compositions include opportunities to creatively engage with and negotiate science ideas, to draw from personal and social knowledge during meaning-making, and to intentionally make rhetorical choices.

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

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

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

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

In this study, the relationship between principals' learning-centered leadership and teachers' professional learning was examined according to the views of Science and Art Center (SAC) teachers. Although similar studies have been carried out before, it was thought that SAC teachers' perceptions as a different context could provide important implications. 112 SAC teachers participated in the research. Data were analyzed with descriptive statistics, correlation analysis, simple and multiple linear regression analysis. In line with the findings, it can be said that SAC teachers have high perceptions of learning-centered leadership and professional learning. As a result of the research, it was concluded that learning-centered leadership predicted teachers' professional learning. The dimensions of learning-centered leadership, building a learning vision and providing learning support, are related to professional learning. However, the dimension of managing the learning program and modelling does not predict professional learning. These findings reached within the scope of the research were interpreted, and their similarities and differences with similar studies in the literature were discussed. Suggestions were made that SAC principals should go through a training process before starting their duties and that SAC principals should be granted autonomy.

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

The primary objective of this cross-sectional study was to explore the degree to which 117 pre-service visual art teachers' competitiveness within the education field. A self-reported competitiveness scale (six items distributed between three factors) was designed and validated by the authors based on the focal points of Michael Porter's Five Forces framework. Additionally, the respondents' digital competence was assessed as an auxiliary criterion of educator attractiveness in the art education domain. Both competitiveness and digital skills measurements yielded mediocre scores. Regression analysis showed that respondents' competitiveness perceptions were predicted neither by digital skills level nor by socio-demographic characteristics such as age, gender, rural or urban background, marital status or whether the student was a graduate or undergraduate. The present study highlights the need for understanding of how visual art majors perceive the sector and evaluate competitiveness among visual art students which itself indicates its sizable contribution to educational research. Other researchers can employ the competitiveness questionnaire introduced to gain deeper insights into the topic or related subjects.

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

The paper explores the relationship between the regulatory requirements to be registered to teach and the provisions to meet these requirements in the initial teacher education programs in Australia. This is part of a broader study of the regulatory requirements for music and art teachers in primary and secondary schools in Australia, and only the music component will be reported in the paper. The statutory regulatory authorities (often referred to as teaching institutes) in each educational jurisdiction mandate the professional and academic requirements for registration to teach. These authorities outline the amount of study required to be registered to teach in primary and secondary schools across Australia. The actual requirements differ between the various States and Territories. To teach in primary schools a graduate is required to demonstrate an ability to cover the eight key learning areas (including the Arts) and specifically in literacy and numeracy. For teaching in secondary schools a graduate must evidence of successful study in two designated teaching areas (often across two learning areas). Across Australia, over the last decade there have been moves from undergraduate degrees in Education (with specialist/major studies) to undergraduate degrees followed by two-year Master of Teaching degrees. The registration authorities recognise both initial teacher education pathways into the profession. The universities have been regularly criticised for their reduced provision (and delivery) of specific discipline content in the initial teacher education programs, and continue to respond that they are delivering what is required by the registration requirements of the regulators. This ongoing response has resulted in significantly reduced time for areas such as Music, which is included in the broader Arts key learning area, with an expectation that a student will be exposed to a range of the disciplines in the Arts and not focus on one discipline. This continues to have a significant impact on teaching and learning in Music as well as the ability, confidence and preparation of future music educators.

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

With growing interest in the role and integration of Artificial Intelligence (AI) and AI pedagogies in transformative art education this paper voices the pedagogic reflections of three art educators in Singapore who have engaged AI in their art provision. It discusses and exemplifies the advantages (intelligent), like interdisciplinary opportunity, enhanced student engagement and increased connectionism, and limitations (artificial), like ethical and moral dilemmas and positioning, of AI integration in three art education settings showcasing how educators and learners engage. Model of pedagogic reflection is used to reveal "how" the educators provided transformative learning with AI, whilst showing the influence of personal art interests, technique modelling and professional reflections on teaching and making involving AI. Paper contributions include insights into and examples of AI practices and pedagogies (like AI literacy and prompt engineering), that are and could be used in art education, reflections on their successes and limits and commentary on the position of AI integration in the circular economy of art education. The paper is positioned to mobilize educator and student voice as an influential driver in the transformation of art education given ongoing developments in digital education futures.

Purpose: The purpose of this study is to examine the perceptions and attitudes of arts and design faculty on teaching sustainability in higher education institutions in the USA. Design/methodology/approach: Arts and design faculty from nine universities in the USA were approached for the study, using both closed and open-ended questions in a survey instrument. Descriptive statistics and content analysis were used to analyze the collected data. Findings: Results related to arts and design faculty's perception of sustainability showed high confidence in teaching sustainability but lower confidence in inspiring students to take action on sustainability issues. Faculty also perceived time, resources, knowledge and support as barriers to the integration of the topic into the curriculum. This study revealed that the faculty's attitude toward sustainability demonstrated their recognition that sustainability should be at the core of their discipline and that they support its integration into courses. Research limitations/implications: This study is limited to arts and design faculty in higher education institutions in the USA. The results may not be generalizable to other fields or locations. In addition, the use of self-reported data may be subject to bias. Practical implications: The findings of this study can inform the development of curriculum and pedagogy in arts and design sustainability education. It can also guide institutions in addressing the challenges and barriers related to incorporating sustainability into their curriculum. Social implications: Prioritizing sustainability education is crucial in addressing global climate change and related issues. Art and design educators' perspectives on teaching sustainability can contribute to constructing a sustainable future for everyone. Originality/value: This study provides insight into the perception and attitude of sustainability among arts and design faculty in higher education in the USA and highlights areas for improvement such as training and resources to better integrate sustainability into the curriculum.

Knowing that vulnerability and risk-taking are both necessary to the educational experience (Willcox, 2017), the author became curious to know what role vulnerability plays in the self-expressive artmaking process, and what could be learned from the uncomfortable feelings that emerge when an artist feels vulnerable. The author also wondered what could motivate an artist to embrace vulnerability as necessary to self-expressive artmaking. The goal was to see if the author could find some answers to these questions through an arts-based research project. This study utilized a blend of methodologies, including autoethnography, which studies the researcher's personal experience (Leavy, 2017), and a/r/tography, in which data emerge through artmaking (Bourgault et al., 2022; Irwin et al., 2006). While creating the first body of self-expressive art, the author journaled her personal experiences to explore connections with the larger phenomenon of vulnerability in self-expressive artwork. Through the a/r/tographical process, she used her artmaking as a vehicle of inquiry for her emerging thoughts, feelings, and behaviors. The author sought to discover how her findings could inform her work as an artist, researcher, and future art educator.

This study focuses on the current situation regarding children working creatively in schools. With two colleagues, I used a form of action research called Appreciative Inquiry, working in collaboration with teachers. Though it took courage for the teachers to plan and implement activities in which children worked creatively, they valued this work for several reasons. It can result in highly memorable and meaningful learning; it offers rich assessment opportunities by allowing children to express their understanding; it guards against underestimating children's capabilities; and it provides opportunities to fulfil the more holistic purposes of education. Therefore this pedagogical approach still matters.

There is scant evidence on the level of arts education available in U.S. public schools and how this has changed over time. In this paper, I present new evidence on broad trends in arts education in U.S. public schools from 1988 through 2018 using nationally representative data from the Schools and Staffing Survey (SASS) and the National Teachers and Principals Survey (NTPS) and administrative data from North Carolina. Both the SASS/NTPS and North Carolina data cover several school years after the Every Student Succeeds Act was passed in 2015, which may have impacted arts education. I first calculate the percentage of full-time teachers whose main teaching assignment is in the arts. In the aggregate, about 5.5% of public school teachers are arts teachers, and this has been stable for decades. There are substantial regional differences that have also changed little. I also find substantial and persistent differences by school characteristics: Schools with higher percentages of both Black, Indigenous, and people of color (BIPOC) and low-income students consistently have a lower percentage of full-time arts teachers than other schools. I also examine of school-level and student-level trends in arts access using administrative data from North Carolina from 1998-2013. I find narrowing gaps in the presence of licensed art teachers between low-performing schools and other schools, and high-BIPOC schools and other schools. I also assess access to the arts at the student level from 2007-2018. I find narrowing gaps in arts enrollment between White students and Black and Hispanic students, consistent with the school-level trends I report. This descriptive evidence from both national and North Carolina data improves our understanding of how arts have been prioritized by schools in recent decades and highlights gaps in access students have had to the arts over time.

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

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

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

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

Social-emotional learning (SEL) has become one of the fastest growing movements in education. However, while many teachers acknowledge the value of SEL, research shows that comparatively few educators feel prepared to incorporate it into their classrooms, and that current school culture emphasizes academics over SEL. This qualitative study examined the perceptions and lived experiences of K-16 visual art, theater, and music teachers in the arts classroom. We describe three art constructs aligned with SEL that emerged from our interview data with educators: identity, interactions, and independence. Our findings provide illustrative examples of teaching practices that support these connections and illuminate a need to expand the role of SEL in educational policy through the use of the arts.

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

In this article, we, as Asian American visual arts and social studies educators, propose an Asian American Critical Pedagogy framework and its four principles. Building on critical race and social theories and pedagogies, we developed the four principles: "Asian American critical consciousness," "counternarratives and reclamation," "heterogeneity and intersectionality," and "joy and wellness." The four principles are the outcome of our collective theoretical exploration, autobiographical reflection, and the analysis of contemporary Asian American artists and their works. We hope the principles serve as a theoretical framework for future research and pedagogical exploration to recognize and expand the authentic voices and experiences of Asian American art educators and students and to offer insights for intersectional research with other marginalized communities.

In this study, we investigated the demographic, educational setting, and pedagogical factors in inclusive visual arts and design classrooms for students with disabilities. We also explored how art teachers' backgrounds, training, and school environments influence their approaches to teaching students with disabilities. Using survey research, we analyzed responses from more than 1,000 preK-12 art and design teachers in the United States, focusing on issues related to inclusion. The analysis provides insights regarding teachers' characteristics, experiences, and pedagogical approaches for teaching students with disabilities in a post-COVID educational system. Linear regression provided insights into factors that can create a sense of community and belonging for disabled individuals in an art classroom. We found a significant relationship between teacher preservice coursework and teachers' approaches to developing inclusive classrooms. Teachers who identify as disabled, undergo preservice coursework involving disabilities, refer to students' Individual Education Programs, have sufficient planning time, and work in schools with collaborative models are more likely to adopt inclusive approaches to pedagogy and curriculum.

This study aims to describe the expansive curricular landscape in art education that has often been depicted by the gap between theory-oriented curricular resources produced in higher education versus practice-oriented resources created and used in K-12 teaching. To provide a curricular overview, 162 K-12 art educators and 22 higher education researchers were surveyed, and 10 individuals from various school levels were interviewed. The quantitative and qualitative research findings illuminate the current status of the curricular divide between the K-12 level and higher education, as exemplified by K-16 art educators' ways to determine the quality of curricular resources, popular types and topics of curricular resources that they produce and use, and ways to improve the K-16 connection. Even so, this study highlights plausible actions, beyond changes in curricular resources, shared by art educators and preservice teacher educators that may help improve the possibly disconnected status quo.

Discussions of the aims and efficacy of teachers tend to focus on an extended present pre supposing a more or less common profile across subjects and recent times. Given the concern with contemporary schooling this is unsurprising, but it limits what might be learned about the character of good and bad teaching, about the particularities of certain fields, and about the ways teachers conceive themselves in relation to their subjects, students and society. This essay considers the teaching of art, by artists to art students, setting this within a long view of the institutions of art and art training. Three partial models of the art educator and their associated qualities can be abstracted from medieval, early modern, and recent periods. (1) The "Exemplar": possessed of practical skills and habituated understanding and judgement. (2) The "Master": having in addition to the exemplar's qualitieserudition and cultivated taste. (3) The "Critical-Advocate": theory-oriented, and self-consciously progressive. Good art (be it in terms of expressive, imaginative, formal, representational or other relevant aspects) has the power to transform makers and observers, and to encourage and deepen self-examination and self-understanding. Good art teaching should be alert to and directed towards these benefits.

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

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

Pre-service teachers need to experience authentic arts activities to confidently impart the quality arts engagement that young learners deserve. Most importantly, these experiences should contribute to shaping emerging teacher identities. We sought to understand the student experience of online early childhood pre-service in their arts courses, and what they need to become competent and confident teachers of the arts. Using data from 51 responses to a 24-question qualitative survey distributed across three Australian universities, we engaged in the methodological process of qualitative bricolage to present a story constellation offering important insights for online teacher-educators in the arts.

Collaboration among different teacher profiles is one of the most important factors in meeting the needs of pupils with special needs. In a study of 138 teachers from different regions of Slovenia (57 special education teachers and 85 visual art teachers), we investigated how they collaborate when working with pupils with severe specific learning difficulties and how this collaboration relates to their professional development. The online questionnaire survey found that most participating professionals felt that collaboration was necessary, and 25% had not yet collaborated. Those who have collaborated most often consult informally in hallways and work as a team in expert groups for individualised programmes. The most common team teaching approach is for the visual arts teacher to lead the art class and the special education teacher to assist the teacher by providing support to the pupils with and without learning difficulties. They also see many benefits for the pupils and themselves in this type of collaboration and follow the desirable - positive - side of the S model of professional development. An analysis of the situation in practise can form the basis for recommendations on how to promote professional development in collaboration between these pedagogical professionals.

This paper investigates the preparation of Australian undergraduate university arts students for a life challenging arts-teaching and creative experience in Timor-Leste. It explores university teaching practice and how we may achieve better student experiences in preparation for their futures as teaching artists. This narrative inquiry research hears the voices of the students through their individual, personal stories. The emerging teaching artists articulate challenges, identify shifts in beliefs and values, and confirm skills that are transferable to cultural arts teaching contexts in the future. In all, the research has resulted in 46 recommendations, some minor, and some requiring more significant structural changes that affect course delivery. For the purposes of this paper, we reflect on and discuss three of the major findings and recommendations in the pedagogical, cultural, and artistic areas of the project implementation. As such, this paper represents a reflective analysis of some of the findings regarding curriculum design within this project.

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

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

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