This edited book considers the main issues and controversies within the current educational context of inclusive education, from an international perspective. Authorities in the field such as Norwich, Kauffman, and Boyle, amongst many other international scholars, provide an enticing insight into many of the issues and controversies around inclusive education, and whether it is achievable or not. We have reached a point in time where inclusive education has been the prevailing doctrine for universal education policies. However, there are still many challenges facing those working within the inclusive education space, with some countries actually becoming less inclusive.
International and national legislation has continued to move towards inclusive education, yet there seems to be many gaps between the philosophy and the principles of IE and systemic practice.
The book aims to address the current debates surrounding the implementation of inclusive education, and also offers insights into the inconsistencies between policies and practices in inclusive environments. Moreover, it analyzes contemporary research evidence on the effectiveness of inclusion and identify directions for future research.
Contributors are: Kelly-Ann Allen, Dimitris Anastasiou, Joanna Anderson, Christopher Boyle, Leire Darretxe, Julian Elliott, Zuriñe Gaintza, Divya Jindal-Snape, Marguerite Jones, James M. Kauffman, George Koutsouris, Fraser Lauchlan, Gerry Mac Ruairc, Sofia Mavropolou, Daniel Mays, Brahm Norwich, Angela Page, and Federico R. Waitoller.
Using a range of critical perspectives,
On the Question of Truth in the Era of Trump closely examines notions of “truth in crisis” leading up to and after the election of Donald Trump. The authors explore how truth is constructed along the lines of race, social class, and gender as filtered through the self-referential characteristics of social media in particular. The authors assert that the US left has shown itself inadequate to the task of confronting right wing ideologies, which have only intensified since the 2016 election, resulting in increased mobilization of white supremacist and nationalist groups.
Whether underestimating Trump by downplaying the threat of his candidacy during the primaries, trivializing the concerns of women and minorities as “identity politics,” or rushing to prioritize the free speech rights of the far-right, left academics and the media have found themselves unable to use their traditional arsenal of evidence, rational discourse, and appeals to diversity of viewpoints.
The authors assert that political resistance to the right is not a matter of playful use of signs and symbols or discourse alone and has to be fought directly and in solidarity. At this point, it is clear that Trump and his supporters have not just deployed relativism as a form of strategy, but have fully weaponized it against their perceived enemies: women, immigrants, minorities, LGBTQ people along with educational, scientific, and journalistic institutions. It is hoped that this in-depth, critical dissection of truth in the current political reality will assist in the project of resistance.
Contributors are: Faith Agostinone-Wilson, Mike Cole, Jeremy T. Godwin, Jones Irwin, Austin Pickup, Daniel Ian Rubin, and Eric C. Sheffield.
To expand the possibilities of "doing arts thinking" from a non-Eurocentric view,
Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, uses both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamines her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher.
The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text.
The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.
Expressive Arts Education and Therapy the reader follows the creation of art-making in tandem with the unfolding of sense-making. A dance theatre lab is the stage for exploration where what was discovered was phenomenologically and collaboratively reflected upon, the participatory nature of the creative work pouring into the research methodology. Creative Process-based Research efficacy is contingent upon the interaction of three poles – the creator, the product and an experience of the internal/external creative process of the creator. All three perspectives comprise the dynamics required of this research methodology in order to understand what is occurring in these three distinct and essential elements of the creative process. What results is an experience of cohesion that consciously describes this interplay.
The author outlines his influences that contributed to both the art-making and sense-making over the seven year research project. His work in experimental theatre in New York, as an educator with The European Graduate School in Switzerland and his studies with philosopher John de Ruiter in Canada are integrated into the world of research in the field of expressive arts. The visceral component of creating clarity is uncovered and articulated. This book inspires new ways of thinking about participatory, collaborative, arts-centered research where the skill of exposing the artist/researcher’s modus operendi for making art and making sense is named in a myriad of ways that call upon the intellect as well as the artist’s intuitive sense of what to focus on and its relevance to education, therapy and global health.
Displacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement.
Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes:
- refugees and internally displaced persons;
- forced migrants;
- indigenous communities who have been forced off their traditional lands;
- people who have fled homes because of their gender identity and sexual orientation;
- imprisoned individuals;
- persons who seek refuge for reasons of domestic and social violence;
- homeless persons and others who live in transient spaces;
- the disabled, who are relocated involuntarily; and
- the culturally dispossessed, whose languages and heritage have been taken away from them.
In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences.
Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.
What is a family? How do families of choice develop?
These questions permeate
Via Chicago as ten people come together as a familial unit after each experiencing and (at least) beginning to recover from prior traumatic experiences. Ella and Linsk are a nonmonogamous couple who have helped one another heal and built an unconventional family together with Case, Kaisa, Reeves, Jo, Andrei, and Michelle over the course of a decade. As the novel begins, Mercury has just moved to Chicago to pursue graduate study when they begin a romantic relationship with Ella and a broader emotional engagement with the family. At the same time, Mercury is beginning to work through traumatic past experiences while Jo might have found love in the form of a new guy the family just calls Twitter Boy. As the novel progresses, we follow Mercury, Jo, and the rest of the family as each relates to their own and others’ traumatic experiences and bonds together over these and other shared aspects of their lives, desires, and goals.
Via Chicago could be utilized in the teaching of sociology, families, romantic relationships, gender, sexualities, geography, urban studies, LGBTQIA studies, polyamory, trauma recovery, or narrative courses, or of course, it could be read entirely for pleasure.
Despite hopeful—though problematic—proclamations about the end of racism after the election of our first African-American President, we are witnessing a backlash and renewed racism at this point in American and global history. Put simply, Critical Whiteness Studies (CWS) has as much exigency now as ever. Critical Whiteness Studies is an interdisciplinary project—with scholars from legal studies, literature and rhetorical studies, film and visual studies, class and feminist theorists, etc.—that contributes to critical race theory. Scholars tend to posit whiteness as an ideological, political, legal, and social fiction that places so-called whites in a position of hegemony over other non-dominant groups. The project, then, functions to unmask and interrogate these fictions. As part of critical multi-cultural and race theory, the project is anti-oppressive.
Those new to CWS are often unfamiliar with much of the court cases referenced and the critical terminology used by scholars in the field. As such
White Out: A Guidebook for Teaching and Engaging with Critical Whiteness Studies is designed to orient readers to the history and purpose of CWS, to key concepts and legal cases, and to established and newer texts and resources. For educators wishing to include CWS in their workshops or courses, this guidebook also includes pedagogical resources ranging a sample syllabus to sample assignments and student texts to advice for structuring a dialogic workshop or classroom.
Student contributors are: Thomas Drake Farmer, Daniel Giraldo, Abby Graves, Elaine Ruby Gunn, Faith Jones, and Connor McPherson.