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El. knyga: Arts-Based Methods in Education Around the World

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Edited by (Qatar University, Qatar and Aalborg University, Denmark), Edited by (Aalborg University, Denmark)
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Arts-Based Methods in Education Around the World investigates arts-based encounters in educational settings in response to a global need for studies that connect the cultural, inter-cultural, cross-cultural, and global elements of arts-based methods in education. In this extraordinary collection, contributions are collected from experts all over the world and involve a multiplicity of arts genres and traditions. These contributions bring together diverse cultural and educational perspectives and include a large variety of artistic genres and research methodologies.

The topics covered in the book range from policies to pedagogies, from social impact to philosophical conceptualizations. They are informative on specific topics, but also offer a clear monitoring of the ways in which the general attention to the arts in education evolves through time.


Topics include: arts-based education, artistry in teaching, art performance, drama, inspiration, reflection, student participation, culture, arts, and creativity
List of Contributors xiii
List of Figures xv
List of Tables xvii
List of Abbreviations xix
1 Arts-Based Methods in Education - A Global Perspective 1(14)
Tatiana Chemi
Xiangyun Du
1.1 Learning and the Arts: A Long Journey
1(9)
1.1.1 The Arts Are Good for Learning
5(1)
1.1.2 The Arts in Society
6(2)
1.1.3 Our Contribution
8(2)
References
10(5)
2 Artistry in Teaching: A Choreographic Approach to Studying the Performative Dimensions of Teaching 15(22)
Kimber Andrews
2.1 Introduction
15(1)
2.2 Artistry in Teaching
16(3)
2.3 Choreography as a Framework for Exploring Teaching
19(5)
2.3.1 Data Collection
20(2)
2.3.2 Embodied Method
22(2)
2.4 A Day in the Life of the Classroom
24(4)
2.4.1 Before the Class Begins
24(1)
2.4.2 During the Class
25(2)
2.4.3 Summary
27(1)
2.5 The Choreography and the Dance: Curriculum Embodied
28(5)
2.5.1 Scripting an Experience
28(1)
2.5.2 Creating Experiences on the Fly
29(2)
2.5.3 Structure Embodied
31(2)
2.6 Conclusion
33(2)
References
35(2)
3 New and Different: Student Participation in Artist-School Partnerships 37(26)
Tatiana Chemi
3.1 Something New in the State of Denmark
38(2)
3.2 A Laboratory for the Arts and Culture
40(1)
3.3 Partnership: What's in a Name?
41(1)
3.4 The Arts Education Tradition
42(2)
3.5 Methodology
44(5)
3.6 Findings
49(1)
3.7 "This Is Really Cool"
50(3)
3.8 Different from School
53(3)
3.9 Broader and Future Perspectives
56(3)
References
59(4)
4 Designing Activities for Teaching Music Improvisation in Preschools - Evaluating Outcomes and Tools 63(26)
Una MacGlone
4.1 Introduction
64(1)
4.2 Previous Literature
64(4)
4.2.1 Understandings and Applications of Improvisation in Music
64(1)
4.2.2 Existing Approaches in Improvisation Pedagogy
65(2)
4.2.3 The Scottish Context for 3-18 Education
67(1)
4.3 Theoretical and Methodological Tools
68(6)
4.3.1 Activity Theory as an Analytical Framework
68(3)
4.3.2 Research Questions
71(1)
4.3.3 Novel Constructs
71(1)
4.3.4 Methods
71(3)
4.3.4.1 Study design
71(1)
4.3.4.2 Data gathering and analysis
72(2)
4.4 Results
74(7)
4.4.1 Workshop Activity 1: Descriptive Improvisation
74(2)
4.4.2 Tensions in Star Music
76(1)
4.4.3 Workshop Activity 2: Free Improvisation
77(3)
4.4.4 Tensions in Free Improvisation Activity
80(1)
4.5 Discussion and Conclusions
81(2)
4.5.1 What Was the Educational Outcome in My Improvisation Activities?
81(1)
4.5.2 What Tools Were Used in Mediating These Outcomes?
82(1)
4.5.3 Conclusions
82(1)
Acknowledgements
83(1)
References
83(6)
5 Revisiting Japanese Multimodal Drama Performance as Child-Centred Performance Ethnography: Picture-Mediated Reflection on 'Kamishibai' 89(18)
Hiroaki Ishiguro
5.1 Introduction
90(4)
5.1.1 Kamishibai as Performance Ethnography
90(2)
5.1.2 Brief Sketch of Kamishibai
92(2)
5.2 Materials and Methods
94(1)
5.3 Results and Discussion
95(7)
5.3.1 Collaborative Story-Making with Children's Drawn Pictures
96(3)
5.3.2 Child-Initiated Kamishibai
99(3)
5.4 Conclusion
102(1)
Acknowledgements
103(1)
References
103(4)
6 The Accordion Book Project: Reflections on Learning and Teaching 107(46)
Todd Elkin
Arzu Mistry
6.1 Background
107(3)
6.2 A Proposition
110(1)
6.3 Research Questions
111(1)
6.4 What Is Accordion Book Practice?
111(1)
6.5 Core Idea #1: Mapping the Terrain: Exploring, Guiding and Getting Lost
112(6)
6.5.1 Mapping
114(1)
6.5.2 Getting Lost and Seeing Anew
115(3)
6.6 Core Idea #2 Exchange as Art: What Happens in an Exchange?
118(2)
6.6.1 Collaboration
119(1)
6.6.2 Dialogue/Feedback
120(1)
6.7 Core Idea #3 Things Talk to Me: Being Alert to What Grabs Me
120(6)
6.7.1 Grabbiness
121(1)
6.7.2 Revisiting Documentation
122(1)
6.7.3 Unintentional, Intentional and Natural Grabbiness
122(3)
6.7.4 Using Accordion Books to Capture the Dialogue
125(1)
6.8 Core Idea #4: What Would an Artist Do? Teachers and Students as Contemporary Artists
126(4)
6.8.1 Contemporary Art Practice/Pedagogic Practice/Accordion Book Practice: Challenges, Methods and Forms
128(2)
6.9 Core Idea #5: Getting Out of My Own Way: Trusting the Process and Resisting Closure
130(3)
6.9.1 How Do We Get Out of Our Own Way?
131(2)
6.10 Pictures of Accordion Book Practice
133(11)
6.10.1 Derek Fenner: Things Talk to Me, Exchange, What Would an Artist Do?
134(3)
6.10.2 Caren Andrews: Mapping Terrains, Getting Out of My Own Way, Exchange
137(4)
6.10.3 Devika G: Things Talk to Me, Mapping Terrains, Getting Out of My Own Way
141(3)
6.11 Some Challenges to Accordion Book Methodologies
144(1)
6.12 Conclusion
145(4)
Acknowledgements
149(1)
References
149(4)
7 Practice-Based Reflections of Enabling Agency through Arts-Based Methodological Ir/Responsibility 153(30)
Dina Zoe Belluigi
7.1 Disrupting Positionality in Educational Research
153(4)
7.1.1 The Possibilities for Methodological Ir/Responsibility
155(2)
7.2 Methodology
157(3)
7.3 Practice-Based Reflections on the Purposive Validity of Arts-Based Methods
160(15)
7.3.1 Creating the Conditions to 'Listen' to Participants' Experiences in and of HE for Evaluation Purposes
161(2)
7.3.2 Creating the Conditions for Participants to Author their Stories of HE
163(9)
7.3.3 Concerns, Limitations and Improvement
172(3)
7.4 Conclusion
175(1)
References
175(8)
8 Blind Running: 25 Pictures Per Page 183(22)
Alison Laurie Neilson
Andrea Inocencio
Rita Sao Marcos
Rodrigo Lacerda
Maria Simoes
Simone Longo de Andrade
Rigel Lazo Cantu
Nayla Naoufal
Maja Maksimovic
Margarida Augusto
Acknowledgements
202(1)
References
202(3)
9 How Can Inspiration Be Encouraged in Art Learning? 205(26)
Chiaki Ishiguro
Takeshi Okada
9.1 Introduction
205(1)
9.2 A Brief Review of Psychological Studies on Inspiration
206(4)
9.2.1 Psychological Model of Inspiration for Art-Making through Art Appreciation (ITA)
209(1)
9.3 Factors That Promote Inspiration for Art-Making through Art Appreciation in Educational Settings
210(5)
9.3.1 Interventions
211(4)
9.4 An Example of Educational Practice for Promoting Inspiration
215(11)
9.4.1 Changes in the Students with Each Educational Intervention l
220(1)
9.4.2 The 1st Intervention
220(1)
9.4.3 The 2nd Intervention
221(1)
9.4.4 Presentation
222(2)
9.4.5 Changes in Students' Artistic Activities throughout the Course
224(2)
9.5 Conclusion
226(1)
Acknowledgements
227(1)
References
227(4)
10 What Are the Enabling and What Are the Constraining Aspects of the Subject of Drama in Icelandic Compulsory Education? 231(16)
Rannveig Bjork Thorkelsdottir
10.1 Introduction
231(1)
10.2 Learning Through the Arts
232(3)
10.2.1 Learning Through Drama
233(1)
10.2.2 Drama in the Icelandic National Curriculum
234(1)
10.3 Theoretical Perspective
235(3)
10.3.1 The Practice Architectures
235(2)
10.3.2 Feedback Loops and Dialectical Tensions
237(1)
10.3.3 Data
238(1)
10.4 Four Perspectives on the Implementation of a Drama Curriculum
238(1)
10.5 The Intersubjective Spaces in the Drama Teaching Practice
239(6)
10.5.1 The Importance of the Semantic Space
240(1)
10.5.2 The Importance of Activity in Space-Time
241(1)
10.5.3 The Importance of the Social Space: Relations, Solidarity and Power
242(1)
10.5.4 Enabling Feedback Loops of the Practice Architectures in Drama Practice
242(2)
10.5.5 Constraining Feedback Loops of the Practice Architectures in Drama Practice
244(1)
10.6 Conclusion
245(1)
References
245(2)
11 The Art of Co-Creating Arts-Based Possibility Spaces for Fostering STE(A)M Practices in Primary Education 247(36)
Pamela Burnard
Tatjana Dragovic
Susanne Jasilek
James Biddulph
Luke Rolls
Aimee Durning
Kristof Fenyvesi
11.1 Creating Possibility Spaces for STE(A)M in Primary Education
248(7)
11.1.1 Introducing Art-Based Perceptual Ecology (ABPE) Methodology
250(3)
11.1.2 Introducing the Installation 'With the Heart of a Child'
253(2)
11.2 Analysis and Findings
255(22)
11.2.1 Teachers' Experience of and Interaction with the Installation (First Exposure to the Installation and Artist-Led Participatory Teacher Workshop)
257(7)
11.2.2 Children's Exposure to and Interaction with the Installation
264(4)
11.2.3 Trans-Disciplinary Learning Spaces
268(3)
11.2.4 Teacher-Led Didactic Formal Classroom Session
271(6)
11.3 Concluding Discussion
277(2)
Acknowledgements
279(1)
References
279(4)
Index 283(4)
About the Editors 287(2)
About the Authors 289
Xiangyun Du, Tatiana Chemi
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