Search

The study's objectives were to present a way for transmission Yi folk songs into educational institutions in Liangshan and Chuxiong prefectures, China. This study is qualitative. Interviewing inheritors of Yi folk songs, for instance, as well as consulting relevant literature and materials. The field investigation method was used for data collection and research, and informants included: 8 inheritors of Yi folk songs in the two places; 6 vocal actors who are professionally engaged in singing Yi folk songs in the two places; 4 leaders of primary and secondary schools and local universities in the two places; 4 music teachers from primary schools and local colleges; and 8 students from primary and secondary schools and local colleges in the two places. According to the results of this study, Yi folk songs should be taught in elementary and secondary schools to improve art and promote national pride. Mixing Yi folk songs into teaching activities, using the new experiential method of teaching, and organizing practical activities outside of school are all effective ways to spread the culture and bring folk songs back to life. Folk song art festivals on college campuses, the formation of professional art groups, and the spread of Yi folk songs in local universities are all excellent ideas that should be encouraged. Teachers should hire Yi folk song inheritors to perform and sing for them, and more teachers should be trained to be good inheritors.

Creative drama encompasses two primary learning objectives: the internalization of democratic values and the cultivation of advanced communication skills. To foster these attributes in individuals through creative drama education, it is imperative that the educators themselves possess these skills. This research pursues a dual objective: firstly, it delves into the communication skills and democratic attitudes of creative drama educators, considering various influencing factors. Subsequently, it explores the correlation between communication skills and democratic attitudes. The study included 143 creative drama educators from 18 cities in Turkey. Various statistical analyses, including independent samples t-tests, Analysis of Variance (ANOVA), and Pearson Product Moment Correlation Analysis, were employed. The findings reveal that the gender and years of experience of drama educators are not significantly linked to their democratic attitudes or communication skills. However, the faculty that they are graduated from significantly impacts both their communication skills and democratic attitudes. Finally, the Pearson Product Moment Correlation Analysis demonstrates a significant and positive relationship between the communication skills and democratic attitudes of creative drama educators.

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

In a challenging world, the spotlight on children's wellbeing has strengthened. There is extensive research about the ways in which well-designed arts education programs positively impact children's wellbeing. Despite this, arts education continues to be marginalised in schools. When researchers with arts education and leadership experience teamed up to consider the intransient nature of the resistance to arts education in primary/elementary schools, they conducted a collaborative autoethnography (CAE) to see if this offered new insights. The iterative process of sharing and interrogating personal stories to distil collective meanings (themes) highlighted four features of education programs that provide sustained support for children's wellbeing: centering in a discordant world; effective leadership; experiential processes, engagement, and trust; and harnessing the transformative potential of the arts. The CAE also pointed the team towards conducting future inquiries about the currently under-researched role of the school principal in instigating cultural change that sustains meaningful arts education.

Thermal cameras have shown to have utility in secondary school classrooms and undergraduate courses. In this paper, the author argues for their potential in the primary school classroom and presents a range of activities that can be undertaken with thermal cameras (or supplied images). With limited access in mind, the activities in this paper have been designed to be practiced in 'demonstration mode' with only one thermal camera or even by using a bank of existing photographs made available to teachers and students. Activities can be modified for individual use or for use in small groups if students have one-to-one access to the cameras.

This article explores and develops possible additional understandings of the term "artistic citizenship" as: 1) a lens to promote critical reflection; 2) a developing inclusive artistic identity; and 3) action for change. First, I provide a general overview of artistic citizenship in order to familiarize the reader with its current definitions and critiques. Second, I propose and develop three possible complementary understandings of the term by drawing parallels between different aspects of scholarship in citizenship and in the arts, exploring existing connections between the two fields, and developing new links between them by extrapolating relevant shared challenges, critiques, and possibilities from discourses about the former into the latter. Finally, I discuss how other conceptualizations of artistic citizenship could have been possible, and how replicating the processes presented in this article with other multidisciplinary terms--that link music with different fields of knowledge--may expand their possibilities as evolving, multifaceted, flawed, and "full of potential" assets that can keep enriching music education practice and scholarship. [Note: The page range (80-101) shown is incorrect. The correct page range is 81-101.]

Structural inequities influence young parents' access to health care, housing, transportation, social support, education, and income. The current study adds to the extant literature by providing data directly obtained in collaboration with young parents to understand how structural violence affects the health and well-being of their families, ultimately resulting in community-driven policy recommendations developed in collaboration with the state health department. We engaged a diverse sample of young people--considered as community researchers in the project--including Black, Latinx, and/or LGBTQ+ pregnant and parenting young parents in a participatory action research (PAR) project in the spring of 2022 to explore their health and material needs while living in Springfield, Massachusetts. Together with young parents, we used participatory arts-based methods to conduct community and identity building, define research questions and photo prompts, conduct data collection (photos), engage in group thematic analysis, and take action at the state policy level. We also conducted individual semi-structured life-history interviews with the young parents. Participatory community-led findings indicate an urgent need for systemic change to increase access to safe and affordable housing; living-wage jobs; safe, high-quality, and affordable child care; and to bolster social support and disabilities services for young parents and their families. This participatory study funded by a state health department demonstrates that participatory community-driven data can have the power to mobilize community members and policy makers for social change if prioritized at the state and local levels. Additional practice-based implications include prioritizing participatory mentorship programs intended to aid young parents in navigating the complex systems that are vital to their survival.

This paper investigates research quality criteria in the Creative Arts (CA). The CA has been introduced into the higher education and research sector over the last three decades. It is thus a relatively new research field and there is little empirical knowledge on how outputs in this field should be evaluated. Our study applies a mixed-method approach to assess the relevance of quality criteria used in performance-based research funding systems (PRFSs) in 10 countries. The results of a qualitative analysis of interviews with artists-academics (N = 67) and Joint Correspondence Analysis show that when art is evaluated in the context of academic research, both the traditional indicators of artistic quality as well as the cognitive and research-related aspects of the arts are believed to be significant. The JCA analysis also showed that the majority of our respondents found both extrinsic quality criteria (related to reputation and prestige) and intrinsic criteria (related to cognition and development) relevant.

Previous research has focused on understanding when, why, and how sex differences in creativity occur, as results vary across samples, measures, and methodologies. In the current study we investigated sex differences in creativity among 984 high achieving adolescents in three expertise areas: Sciences, Arts, and Sports. Eight creativity indicators were analyzed: Alternative uses task (AUT) fluency; creative self-efficacy (CSE); intraindividual strengths (difference between CSE and AUT Fluency); five self-reported creativity scales: Self/everyday, scholarly, performance, mechanical/scientific, artistic. The results showed negligible sex differences (n[superscript 2][subscript p] = 0.01), with females performing better in AUT Fluency and males self-rating their CSE higher. No sex differences were found in self/everyday, scholarly and performance creativity. Males self-rated their mechanical/scientific creativity (n[superscript 2][subscript p] = 0.06) higher than females; while females self-rated their artistic creativity (n[superscript 2][subscript p] = 0.02) higher in comparison to males. Our results extend the existing literature by finding negligible sex differences in adolescent expert groups. However, some stereotypical differences emerged, for example, females with Sciences expertise rated their mechanical/scientific creativity lower than males with and even without Sciences expertise. Results call for further investigation into the links between sex differences, expertise, and specific creativity domains.

The Florida State University (FSU)/Florida Department of Corrections (FDC) Art Therapy in Prisons Program is contractually required to conduct an annual art exhibition of the participants' work. Originally to be held inside the institutions, it evolved into a single art exhibition at an annual state-wide conference for prison educators. This report demonstrates, through survey data and discussions, that the exhibition and an accompanying experiential in which its attendees and prison inmates contributed provided an opportunity for the participants to feel that they were being seen and heard by those on the outside. In addition, the exhibition provided learning experiences about the program, assuring that there is continuous support, appreciation for the art created, and collaboration to meet the needs of those participating.

Many students in the United States and around the world live in arts deserts, areas where they have limited opportunities to engage with various forms of artistic expression, cultural events, and creative experiences due to a scarcity of cultural institutions, performance venues, galleries, and community arts programs. This article explores the value of providing students living in an arts desert with access to arts-based experiences and the potential benefit for combating the isolation of rural poverty. Four groups of middle school students and one high school group from Appalachia who lived in an arts desert were able to experience musical theater performances, traveling after the school day to avoid conflict with their academic responsibilities. Through the musical theater performances, students were exposed to different perspectives and experiences they otherwise would not have received in their local communities.

There exist already many practical projects that bring together Education for sustainable development (ESD) and artistic practices. They tie in with the transformative potential and the power that are attributed to the field of art in dealing with issues in the context of sustainable development. However, it is currently not clear how this potential is to be assessed in the field of formal education and especially in primary schools. This article addresses this issue on a theoretical level. It discusses how the inclusion of artistic practices in ESD can promote specific competences to help shape sustainable development and thus contribute to the overall goals of education. This incorporation takes place along four central areas, namely, development of vision, multi-perspectivity, spirit of inquiry and openness, which are central to both the educational concept of ESD and an artistic approach.

The article presents a systematic review of studies on the construction of current policy on labor inclusion, highlighting the role of the arts in the international landscape. The aim of this article is to analyze studies that address inclusive labor policies, highlighting the arts as a labor sector in the international context. A systematic review of articles published in scientific journals on the new international social structure and the inclusion of people with disabilities has been carried out using the PRISMA system to synthesize the search carried out with Mendeley's tool for storage. Ten databases have been used in the exhaustive search and selection: 1Findr, Semantic Scholar, Scopus, Google Scholar, Microsoft Academi Search, Wos, Dialnet, Miar, Circ, Eric. Among the conclusions obtained, the importance of inclusive policies is highlighted, arts organizations are increasingly promoting intervention and research actions, but they need academic, university and political support. Moreover, some inclusion policies need to be questioned when parameters of positive discrimination or action are observed. Education will give us the keys to improve as a society and the generation of more egalitarian policies.

This paper addresses the current debates, anxieties, and perceptions around the idea of scholarly artistic research within doctoral studies, internationally and in South Africa. A common point of contention, both in South Africa and in the international arena, is the reluctance within institutional structures and external bodies to accept artmaking as research and the creative production or artifact as a legitimate component of the research output. Creative practice is permissible at the doctoral level of study but usually research or new knowledge that emerges from such practice is evaluated and analyzed through the lens of textual research. The unwillingness to qualify practice as autonomous research is coupled with its awkward positioning in the humanities as a kind of study secondary to and distinct from that associated with scientific research methodology. This discussion engages with policies, developments, debates, and discourse around practice-based doctoral study in South African and globally, with the hope of presenting a comprehensive overview of the current state of doctoral level artistic research. Moreover, in drawing on international discourse and precedents the study proposes some guidelines, parameters and methodological approaches that can contribute to the understanding and development of doctoral artistic research in South Africa.

Narratives, or stories, are used every day by people as a way of making sense of and communicating events in the world. Narratives can be highly useful as a learning tool in science education. Though research on narrative-based pedagogy in science education and communication is very common, most of that research was done in formal settings. Our study followed fourth-grade students who visited the science museum on a field trip, entitled "The Life of Leonardo Da Vinci," which used narrative-based pedagogy (e.g. the story of Leonardo da Vinci) as a common thread throughout the visit. Interviewing the students after the visit revealed that most students remembered facts mentioned in the narrative, and the narrative had a long-term effect. The students remembered this visit better than other visits. In addition, more than half of the students used vocabulary that could be associated with the visit. This study supports the idea that art-based research methods can be effective. Using photos and images proved to be more engaging for students, and all students used the photos of exhibits and other images to create their own stories.

The proportion of students studying in higher education institutions who are experiencing mental health needs is increasing and becoming a serious concern. Using participatory arts projects may be key to enabling students to maintain well-being despite the pressures inherent in their student role. Therefore, this study aimed to ascertain whether such a course could be feasibly developed within a university setting, and to examine how esthetic experience influences university students' well-being. To understand the differences in students' esthetic experience and well-being before and after engaging in participatory art, this study implemented an intervention and collected quantitative and qualitative data. A total of 39 students volunteered to participate in the study. The results revealed that esthetic experience predicted student well-being, as the more students had an esthetic experience by concentrating on a particular artwork, the more effective it was in terms of enhancing their well-being. In addition, there was a significant difference between the pre- and postintervention, where students' esthetic experience and well-being improved after completing the art activities. These findings have implications for our understanding of university students' well-being, as well as the importance of considering participatory art, on its own, as a target for intervention.

This article examines the role of the arts in education through a detailed sharing of a research project, Hum Hindustani, on children and citizenship. Using examples of work co-created with children in art workshops for the project, the article offers an understanding of the place of the arts in the classroom to provoke a larger conversation that can lead to meaningful ways of engaging with children. It looks at questions of children's voice, authenticity and positionality to argue for a reflexive teaching practice that can challenge pedagogies that emphasise tests and results, and instead allow for the development of the whole individual.

Utilizing storytelling, two art educators explore how their undergraduate students experienced the transition to online education after the outbreak of COVID-19. Three themes are examined based on the students' reflections: (1) new characteristics of and experiences within virtual learning, (2) isolation and connection, and (3) embracement and adjustment. The participating students shared their course experiences, with regard to the changes in course design and structure made due to the abrupt transition to online instruction. The participating students felt some loneliness due to isolation and social distancing. They experienced multilayered connections purposefully made through learning communities, small groups, student pairs, and student-instructor communication using discussion boards, emails, group chat, personal webpages, and Canvas messages and feedback. We suggest that exchanging narratives about students' learning and art making experiences helps educators build their own teaching communities and serves as a strategy to overcome challenges and develop resilience in uncertain times full of changes and transitions.

To participate fully in the global knowledge economy, all countries require strong research and innovation eco-systems. This crucially depends on the efficiency of doctoral education and training. We examined the trajectory of doctoral education in Uganda over the past four decades focusing on number of doctoral awards and equity in regard to sex, STEM versus Arts, Humanities and Social Sciences, and private versus public providers. We collected data from all institutions providing doctoral education in Uganda through comprehensive review of documents. Our analysis of data revealed low capacity for doctoral education in Uganda. There was under production of doctorates depicted by the low number of doctoral awards; and inequalities in regard to sex, STEM versus Arts, Humanities and Social Sciences, and the public versus private providers. We argue that the trends in equity and number of doctoral awards translate into low number of researchers per million inhabitants, low number of researchers engaged in research and development (R&D), and gender disparity in researchers' participation in R&D. We conclude that the low number and inequalities in doctoral awards have deterring implications to the attainment of national development goals. We proffer desired trajectories for the future of doctoral education and training in Uganda.

'The Children's Sensorium -- art, play and mindfulness for post-pandemic recovery' was an exhibition that brought together sensory-based art installations featuring First Nations Connection to Country with mindfulness and embodiment strategies to enhance well-being for children (ages 4-11). As the COVID-19 pandemic slowly moves from the centre of public attention, we are starting to gauge the impact of the world's longest lockdown in Melbourne, Australia, on children's well-being and resilience. 'The Children's Sensorium' exhibition was created with children and their well-being in mind. In this article, we focus on insights from the exhibition evaluation and address the ways artistic and sensory-based mindful engagement can support children's well-being and resilience. Evaluation of The Sensorium exhibition provides a view into the potential of sensory-based artworks to create a stimulating environment, positive emotions, mindful awareness of their senses and the environment and a sense of playful agency for children. The Sensorium provoked a fresh way of thinking about art exhibitions for children: one that centred a child-friendly, strength-based artistic space where children felt agency to be creative and explore the complexity of their emotions, hopes and fears in the wake of the global pandemic.

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

The art of looking is a museum and art gallery teaching tool at the core of the Visual Thinking Strategies, a Harvard School of Education pedagogy initiated as an educational experiment for schools across the United States almost two decades ago. Today, a large number of schools implement this teaching method to increase student engagement in a non-hierarchical setting that promotes inclusive learning experiences. Students analyze works of art basic elements (colors, shapes, and textures) and complexities (meanings and intentions and ties to cultures and emotions) with an inquiry-based approach. Facilitators are central to the process, but not the authoritative source. At a moment in which racial inequality and injustice flood the media, anti-racist intentional teaching is necessary to produce social change. The discomfort generated by magnifying racism through the lens of art moves the participants to explore how racism can deeply shape social, political, and cultural institutions, acknowledging the root causes of racism and identifying the spaces that perpetuate segregation and discrimination on the basis of race beyond stereotypes. Rather than shying away from difficult issues, this pedagogy encourages the audience to address complex topics and combat social issues head-on. This article contains five essays that highlight the beauty of truthful young voices from a multidisciplinary, higher-education setting that call for racism awareness and action through the art of looking.

Critically-oriented teacher education has been under assault in the United States (U.S.), England, and Australia through policies that have had a chilling effect on teaching critical race theory, gender, and sexuality. We are concerned that these reactionary movements will further distort the histories, lives, and humanity of minoritized groups while reinforcing the single storylines of dominant groups. Our post-qualitative inquiry demonstrates how four literacy teacher education instructors and four preservice literacy teachers from various regions of the U.S. used visual-verbal journals (VVJs) and quality literature in critically-oriented, artful pedagogy to disrupt normative forces in teacher education. Data analyses were informed by the philosophy of Deleuze and Guattari, particularly the concepts of "becoming" and "health," which have explanatory power over affective encounters across the four different sites. We focus on encounters that produced "literacies of well-becoming," which are reading, composing, and thinking processes that multiply the ways learners: 1) encounter self and other; 2) relate to histories and sociopolitical forces; and 3) circulate life-affirming practices. This article provides affirmative examples of how affects can produce health, which for Deleuze involves distributed capacities to break out of well-worn grooves of habit by connecting to the world in new ways.

National brands of the Kazakh people are insufficiently researched based on the special criteria for defining the concept of a brand from a scientific perspective. This article is relevant in this context. Interest in branding and its formation is a topic staying relevant. It is a driving force behind globalization and international competition. The brand is recognized as attracting tourists and investors, strengthening business, forming the country's image, and achieving international supremacy. The study of the national brand in the field of education is also critical. In particular, it is necessary to identify national brands through associative studies for economics and tourism students. The article analyzed the concepts recognized as national brands of the Kazakh people. The frequency index of the words recognized as Kazakh national brands was determined. According to the word stimulus, "Kazakhstan," "homeland," "peaceful, independent country," and "What is the Kazakhstani brand?" "National cuisine" and "art forms" were the most answered. The experience of identifying the association has shown that using national characteristics, art, national food, and national clothes in everyday life as a national brand is not accidental. The mental characteristics and culture of the Kazakh people in the formation of a brand were determined during the research. They were introduced in the domestic and world markets, stabilized in the minds of consumers, and explained in the education system, marketing, and tourism. This situation would impact their use in the field.

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.

This paper reveals the journey of two settler-researcher-educators supporting learning in preparation for Carey Newman's Witness Blanket Art Exhibit. Invited to create curriculum for students and educators of K-12 who would visit the exhibit, the authors describe co-curricular making as a living, re-generative, re-cursive experience. The learning alongside diverse perspectives of educators and community partners in circle--including Syilx Okanagan, School District, Art Gallery, Museum, and University-led to reconsidered understandings of co-curricular making. Relational commitments that invite co-curricular engagement with the Witness Blanket foreground Syilx Knowledge toward resisting colonial ways, and supporting tmix[superscript w], the life forces of Syilx Okanagan Territory.

This article poses the question 'How do we look at animals?', suggesting a link to inherent problems of documentary film-making. However, the question further suggests that there may be ways of relating to animals other than 'looking at'; other than 'observing'. Drawing from the research project De-Doc-Donkeywork: Decolonising Documentary Art Practices and the Global Crisis for Donkeys, the article offers a reflection upon how specific art-practice-led research is brought into education. The interrelatedness of art practice, research, theory and pedagogy allows for connections to be identified between the decaying borders of disciplines, documental knowledges, and possibilities of decolonising our relation to animals. At the core is a problem of 'coloniality' related to film education: the domination of documentary concerns and valances through film discourse. The "documental" is identified as an epistemic practice that can reorganise extra-disciplinary resources into collaborating collectives in research and education, allowing for new ways of knowing 'donkey'.

MoLam is a cultural performance art in northeast Thailand. MoLam is a profession that requires the high art of singing and relies on literary aesthetics and elaborate melodies to attract listeners. The objectives of this study were to: 1) research and collect information about Isan MoLam's performing arts, 2) explore the current conditions and problems affecting MoLam's performing arts literacy inheritance, and 3) investigate the process of transmission literacy to inherit MoLam's performing arts literacy. Descriptive analysis was used to examine and data from documents and fieldwork. The results of this study are as follows: (1) According to MoLam research, when the colonial country invaded this region, the Thai-Lao ethnic culture in northeastern Thailand and Lao PDR was split. On the Thai side, individuals flocked to the center area to meet with Siam. MoLam in the Northeast has steadily developed since then, and it may be classified into four types: (i) non-dramatic MoLam, (ii) dramatic MoLam, (iii) ritual MoLam, and (iv) miscellaneous MoLam. (2) As Thai society enters the internet era, there are numerous popular entertainment mediums, leading people's morals to shift and lowering people's interest in viewing MoLam performances and roles. The goal is to find a way to pass down this performance art to future generations. (3) Literacy transmission: After synthesizing the material to be taught, the students are separated into two groups: (i) MoLam singing has been practiced by a group of elementary and high school students; (ii) MoLam singing, and music have been practiced by a group of students at higher education institutions. Under the established parameters, both groups have extra talents. In conclusion, this study may be utilized as a model for conveying local wisdom information.

The Guqin is a string instrument that has been played in China for over 3,000 years. It is famous for its meditative, soothing sound and is frequently associated with Confucianism, Taoism, and Chinese literati culture. The instrument has seven strings that can be plucked with a plectrum or with the fingers. The Guqin's sound is said to resemble a gentle breeze blowing through the trees, and it is frequently used in Chinese music to evoke feelings of tranquility and introspection. This study was conducted by statistically analyzing field research data and making recommendations for their educational status. In this study, samples of local Guqin musical instruments were selected, and a field study was carried out for the three local Guqin musical instrument groups, the Guangling sect, the Jiuyi sect, and the Yushan sect. The questionnaire was administered to 180 participants and included a literature analysis. The results of this study show that the province of Guizhou is home to a diverse collection of peoples, and the art of the Guqin is being modernized and incorporated to produce a form of art that the general populace appreciates. It is possible to make innovations and explore ways to form an ensemble using Guqin, Guzheng, Dizi, and other ethnic instruments, hold various Guqin concerts and art festivals, and engage in cultural and artistic exchanges. Guqin music will be celebrated at an increasing number of festivals in the future.

As in any professional field, aspiring video game artists, designers, and developers must acquire the necessary skills and knowledge for a successful career. Higher education institutions offer varying video game Bachelor's degree programs to meet the diverse needs of the industry. Our objective in this study was to explore these curricula to gain insight into and understanding of the contemporary video game higher education landscape. We explored 113 Bachelor's degree curricula in Europe that had publicly available information in English about their courses. We classified the courses within each curriculum using ten devised classifiers based on the IGDA Curriculum Framework 2008 but modified them to suit our interests. The content of the classified curricula was then used to create curriculum profiles -- data vectors that characterize a curriculum based on its contents. These profiles allowed for hierarchical clustering and principal component analysis (PCA) to identify and investigate the three common types of video game curricula: video game art, interdisciplinary video game design, and video game technology/programming. Our results indicate that art and programming curricula are highly specialized, with clear distinctions in yielding Bachelor of Arts and Bachelor of Science degrees. Curricula focused on interdisciplinary video game design do not have such clear distinctions in the degree titles and content specialization. They are more varied in their profiles and tend to bridge the gap between art and programming curricula, reflecting the interdisciplinary nature of game design as a profession. Compared to results from previous studies, we found that contemporary curricula place a greater emphasis on graduation projects, internships, and soft skills. Our findings provide an overview of the current state of higher education in video games, which may prove helpful for those working with or interested in these curricula.

In this study, the author explores metaphors related to students' experiences conducting collaborative arts-based ethnographic research in a U.S. nonprofit organization. A metaphor analysis of 25 students' essays revealed they were most likely to frame their experiences with arts-based service learning as a journey or a sports contest. The author examines the extent to which students' metaphors legitimize or delegitimize arts-based service learning, as well as the degree of novelty that characterizes these metaphors. She explores the implications of her findings for teaching and promoting arts-based service learning in the academy.

The internationalization of higher education has changed over time due to government programs and incentives. In response to these demands, universities have sought to develop internationalization actions that encompass the entire university community. This article aims to analyze the internationalization strategies contained in the plans and policies of Brazilian higher education institutions (HEIs) that participate in the Institutional Internationalization Program -- CAPES PrInt Program. It is a qualitative study, conducted from documentary research, and data processing was carried out based on content analysis. Data analysis showed five priority areas: Teaching; Language Policies; Research; Outreach, Culture and Art and Management. Among internationalization strategies developed by HEIs in Brazil, no predominant internationalization model exists, but the coexistence between the different forms of internationalization characterizes the search for an identity that reflects the features of Brazilian higher education. The results reveal the direction that Brazilian HEIs are taking toward the institutionalization of internationalization and its contribution to the consolidation of the field of internationalization of higher education.

Teacher educators face many challenges related to workload and government-mandated reforms in Initial Teacher Education programs. Evidence suggests that COVID-19 has exacerbated these challenges as universities must become more costeffective and improve research outcomes and impact, often resulting in heavier workloads. While these challenges may be faced in other disciplines, teacher educator wellbeing, stress and burnout is an under-researched field, and little is known about if and how teacher educators maintain their wellbeing during times of uncertainty. This collaborative autoethnographic study applied an arts-based research method to explore the wellbeing challenges faced by four Australian teacher educators through the lens of the PERMA wellbeing framework. Data was collected through conversations, written reflections and field texts. While tensions often emerged, opportunities for success and positive changes also became known. The importance of agency and self-determination of teacher educator wellbeing became an important foundation for continuation in teacher education.

The art review is a genre that describes the artwork under discussion, educates its readers, as well as interprets and evaluates the work. It is a genre that plays a crucial role in the art community as it publicizes art, promotes artists, educates the public and enhances their appreciation of art. This study investigates this underexplored genre through the move analysis of a 67,807-word corpus of 70 art review texts collected from online art magazines and online newspapers containing an art review section. The study reveals seven moves and seven steps found in the art reviews in the corpus: heading (Move 1), describing the work (Move 2), providing external information (Move 3), providing the artist's background (Step 3.1), providing general knowledge (Step 3.2), discussing a past event that influences the work (Step 3.3), mentioning quotes (Step 3.4), mentioning other reviews (Step 3.5), interpreting the work (Move 4), judging the work (Move 5), providing evaluative comments (Step 5.1), recommending or disrecommending the work (Step 5.2), expressing general opinions and thoughts (Move 6), and sharing the writer's personal experience (Move 7). The results also show no common move patterns, indicating that the genre allows fluidity and creativity in structuring the content.

Playing video games is one of the most popular leisure activities across the world. Video game music (VGM) is a musical art form prevalent in popular culture, and there is potential to use it for the music education of students. Using informal music learning (Green, 2002) and online participatory culture (Jenkins, 1992/2013) theories as grounds for inquiry, this multicase study explored how musicians used the music of "Undertale"--a popular 2015 independent video game created by Toby Fox--to inspire music making by publishing YouTube videos. Twelve case studies were conducted using methods outlined by Robert E. Stake (1995; 2006), each centered around a YouTube channel managed by creators who published "Undertale" music video covers. Data were analyzed around three themes: learning how to create for YouTube, creating covers of "Undertale" for publication, and interacting with others within the VGM community. By exploring the processes of VGM cover artists who published on YouTube, music educators may be able to better guide students to develop skills for publishing content on the internet and connecting with others in meaningful ways online.

Human anatomy and physiology?is?considered one of the most difficult courses a student can take in a pre-health professional major in the US (Slominski, et. al., 2017). Research has revealed benefits of the use of art and anatomy within medical education, including improved clinical observational skills, greater understanding of disease and patient perspectives, and greater ability to empathize (Bell & Evans, 2014). Bell and Evans (2014) argue that observational skills are often overlooked in medical education. Use of art assignments in a graduate anatomy and physiology course will be discussed with reference to design and learning outcomes.?The purpose of this study?was to?evaluate?the relationship between art and medical education for audiology students. This study aimed to incorporate STEAM education (art assignments, the teaching effect, and community outreach) into audiology curriculum. Auburn University's Au.D. class of 2022 participated in this study, consisting of 10 students. The Student Assessment of Learning Gains (SALG) questionnaire was conducted and provided qualitative and quantitative evidence supporting the integration of art in the Doctor of Audiology curriculum. BASE (pre) and SALG (post) outcomes assessed that the use of STEAM assignments can help improve the retention of the anatomy and physiology within of the auditory system. Cross-tabulations of pre and post course responses show a positive increase in student understanding of course material. A positive perception that art assignments enhanced student confidence and clinical observation skills related to the course was observed. Many students felt they had a great gain in understanding covered topics. The effects of utilizing the teaching effect and community outreach were also positively seen by student participants. Students' opinions following coursework and cross-tabulations support a place for art in health education and healthcare.

This article evaluates Make it Happen Summer School according to Bernstein's writing on classification, framing, and recontextualisation. The project was a collaboration between a university and an Arts Council England National Portfolio Organisation (NPO) that aimed to develop a curriculum for creative practitioners so they could learn to propose successful socially-engaged arts projects for funding and commissions. NPOs are arts organisations that are funded by the UK Government and the UK's National Lottery via the Arts Council England. This article draws upon quantitative and qualitative data collected in relation to this project to evaluate the curriculum and pedagogy. In order to do this, models developed from Bernstein's work guide the analysis of the findings. It was found that while many gained powerful knowledge from the project, some did not. The processes of recontextualisation demonstrated how ideologies based on accountability and performativity shaped the curriculum reflecting the depoliticisation of socially-engaged practice.

In this paper we present the analysis and interpretation of data collected during an intercultural virtual exchange undertaken in 2020 in which students from Argentina and the USA explored how trauma and suffering associated with COVID-19 can be channeled through collaborative artistic multimodal creations, and how approaching this in a productive way can lead to self-transformation in terms of intercultural and civic growth. To obtain unbiased data, we did not give the students information on the Council of Europe's Reference Framework of Competences for Democratic Culture (RFCDC; 2018) which was fundamental to our conceptualization. Here, we apply an ex post facto research method to explore which of the 20 competences for democratic culture included in the RFCDC were mobilized and deployed by our students during this project. We do so by analyzing their multimodal artistic creations, social actions, and their civic statements from the perspective of the RFCDC definitions and descriptors. Findings indicate that the virtual exchange project contributed to the cultivation of 'democratically and interculturally competent citizens' as conceptualized in the Reference Framework of Competences for Democratic Culture.

This article describes how to help students connect what they learn in the language classroom to the outside world as they learn to understand, produce, and analyze spoken, written, visual, and cultural information in their second language (L2). As learners make connections between course material and the physical and virtual spaces where the L2 is used, they are introduced to the concept of "linguistic landscape" (LL), which refers to language on signs, advertisements, in graffiti, and other public venues. The examples come from a Hebrew class, where students gain deeper understanding of diverse intercultural realites in Israel and are prepared to function in authentic communicative situations. Colleagues in other languages could also use LL as a basis to explore intercultural realities of any multilingual space--from Berlin to Québec or in students' own environments.

Much is known about the literacies of early life, adolescence and some aspects of adulthood such as workplace literacies, but there has been a dearth of attention to the literacies of late life. The invisibility of these literacies has the potential to skew how curricula, pedagogy and policy developers understand and plan for literacies that can sustain people across the life course. It also can play into deficit discourses of elders, such as those prevalent during the COVID-19 pandemic, that have led to a parallel pandemic of ageism. To reverse this invisibility, this study aimed to bring to light the everyday literacies of thriving elders and the people, places and things involved therein. Through a sociomaterial orientation to literacies and adoption of a modified Day-in-the-Life methodology, this paper reports on the everyday literacies of 'Gina', an octogenarian woman who resided in an assisted living residence in the United States and self-identified as thriving. The study identified six key literacies-as-events in Gina's day that engaged a plethora of (im)material constituents such as memories, art materials and novels and created opportunities for the (re)invention of time and space. Lessons from Gina's day suggest what might be possible in/through literacies at all ages.

This study examined students' understanding of, and reflective inquiry into discourse, specifically their epistemic discourse understanding and meta-discourse, and investigated their roles and relationships in fostering productive inquiry in knowledge building. The participants comprised two classes of ninth grade visual arts students inquiring into art and design. The experimental class (n = 31) engaged in knowledge building using Knowledge Forum® (KF) enriched by meta-discourse involving reflective inquiry and classroom discussion about their discourse. The comparison class (n = 32) similarly worked on KF but using regular classroom discussion. Quantitative analysis indicated that the experimental group students, who engaged in meta-discourse, showed a deeper epistemic discourse understanding and domain knowledge than the comparison students, and that epistemic discourse understanding was associated with productive KF inquiry. Qualitative analysis of the classroom meta-discourse showed that metacognitive reflection, principle-based inquiry, and idea development (i.e., meta-epistemic reflection, meta-epistemic principles, and meta-epistemic theory) support epistemic understanding and productive inquiry. We also discuss the implications of using meta-discourse to enhance epistemic discourse understanding and productive inquiry for knowledge building and computer-supported collaborative learning.

Effective arts learning requires the development of important literacies. While investigation of discipline-specific literacies has filtered the literature, it is unclear if these literacies are acknowledged, understood, and/or taught. In this paper, we share the classroom discourse of two arts teachers in early and middle years across visual art and music--to determine how discipline-specific literacies are used and taught. Findings show that these teachers intuitively and consistently share age-appropriate arts-literacies and use semiotic metalanguage with their students to express and make meaning through arts practices. With contemporary research in the field of literacy consistently acknowledging the diverse ways we communicate and the importance of creative thinking and aesthetic-artistic reasoning, it is critical that classroom data, such as shared in this paper, is considered for future curriculum development. We conclude by recommending strategies and considerations for arts teachers when planning and implementing arts literacies to improve students' applied understanding.

The aim of this study is to identify the relationship between pre-service preschool teachers' metacognitive awareness and creative thinking domains and the predictive level of metacognitive awareness on creative thinking domains. This study following creative domains were examined: scholarly, performance (art), everyday/self and artistic creativity. The study conducted on 374 preservice preschool teachers, 314 female and 60 male, were reached out through purposive sampling method. Ages ranged from 18 to 36 (Mean= 19,27, SD=6.96). "Kaufman Domains of Creativity Scale" (K-DOCS) and "Metacognitive Awareness Inventory" were used as data collection tools. Descriptive statistic was performed. Correlation analysis was run to determine the relationship between metacognitive thinking and creativity and creative domains. And also regression analysis was performed to identify the predictive level of the metacognitive thinking on creative thinking domains. Findings show that significant relationship was found between metacognitive awareness and creative thinking domains sub-dimensions of the scale (scholarly, performance, everyday/ self and artistic), Metacognitive awareness significantly predicted creative thinking domains. The predictive levels varied by creative domains. Metacognitive awareness predicts scholarly and everyday\self creativity at the highest rate. The findings obtained in the present study yielded similar results of studies on metacognitive thinking and creativity in the literature.

In this study, it is aimed to examine and analyze virtual museums in accordance with design and perception of social presence. In this context, virtual museums that offer free access internationally were identified and accepted as documents. Document analysis, one of the qualitative research methods, was used in the study. Each of the virtual museums examined was subjected to content analysis and divided into groups according to the characteristics they have and do not have. The sample of the study consists of 352 virtual museums. "The Virtual Museum Review Form" created by the researchers was used in order to examine the determined virtual museums. Within the scope of the study, virtual museums were analyzed under seven categories, such that type of artwork, transfer to virtual environment, presentation, transition, navigation, guidance and virtual reality support. Virtual museums are divided into eight categories according to the type of work (culture-art, history, composite, military, archeology, science/technology, industrial and natural museum). It has been determined that most of the virtual museums examined are transferred to the virtual environment as an exact copy of the museums existing in real life. Virtual museums are divided into three as 2D/3D object, pop-up and link, according to the type of information they present to their visitors. Most of the virtual museums examined offer semi-flexible, flexible or non-flexible guidance services to their visitors. As a result of the study, it is suggested that the examined virtual museums be classified under 3 sub-headings as "type of artwork", "type of transfer to virtual environment", and "type of presentation" according to their designs and under 4 sub-headings as "type of transition", "type of navigation", "guidance", and "virtual reality support" according to their social presence perceptions.

This paper reports on a transdisciplinary approach to science with a Year 4/5 class incorporating citizen science through the Birds in Backyards project. This transdisciplinary approach created opportunities for student engagement through science, mathematics, design and technology, humanities and social sciences (HASS), arts and English, while also creating meaningful connections to nature and the local environment.

Creativity is recognised as a key facet of the suite of 21st century skills driving education worldwide. Understanding its existence outside of The Arts is vital for recognising young children's creativity. However, what constitutes creativity and what it 'looks like' is not always clear. As a result, inconsistency and lack of efficacy when educators and parents attempt to encourage the development of young children's creativity is possible. To investigate implicit theories of creativity relating to what creativity is and who is considered creative, parents and educators of four to eight-year-old children in four early learning contexts in Perth, Western Australia, were invited to complete a questionnaire. Findings suggest there may not be a strong tendency towards recognising creativity in The Arts but there may be an inclination to recognise eminent men's creativity more than women's. Additionally, there appears to be a lack of recognition of 'daring' as a creative behaviour.

Works of fine art present an inexhaustible source of imagination, aesthetics, and creativity and can stimulate the development of personal creativity. Communication with artworks is possible if trained to understand and aesthetically experience them. It is therefore important to be in contact with the rich symbolic meanings of the language of art. If we want to educate students to be able to communicate and understand the cultural dynamics of art forms and to successfully communicate with art forms in the future and develop their visual art literacy, we should implement artistic educational content in higher education. Contact with artworks allows students to better understand their thoughts and feelings and, if using appropriate methods, an artwork can stimulate students to be creative. This paper investigates the influence of Surrealist paintings (made by Rene Magritte and Salvador Dali) on stimulating the artistic creativity of 46 first-year students of Early and Preschool Education at the Faculty of Humanities and Social Sciences in Split, Croatia. The results are presented using a qualitative methodology, i.e. a specific method of aesthetic transfer (perception, reception, and reaction) that brings the observer of the artwork into aesthetic interaction with the work and stimulates their experience of the work along with their creativity. Experiencing the artworks of Surrealism aroused students' emotions and aesthetic experience, allowing them to create background stories about the observed. Using various freely chosen art techniques, they also made their own artworks, which influenced the development of student creativity.