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We live in a socio-cultural reality which is dominated by an entrepreneurial and instrumental rationality, as well as by a discriminative and populist mentality. Questioning the validity of taken-for-granted sovereign perspectives is thus of vital importance. Our contact with art can serve as a pathway through which we might be empowered to identify false life values and develop the disposition and ability to challenge them.
The learning potential of aesthetic experience is, however, barely exploited within educational systems. In addition, although major scholars have contributed to a deeper understanding of the liberating dimension of processing important artworks, there has been surprisingly little discussion in the relevant literature focusing on educational practice.
Exploring Art for Perspective Transformation provides a comprehensive analysis and synthesis of theoretical views pertaining to the emancipatory process of exploring art. Moreover, it presents the educational method Transformative Learning through Aesthetic Experience (TLAE), with reference to particular examples of implementation. TLAE is addressed to adult educators and school teachers regardless of the subject they teach and their theoretical background on aesthetics. It involves engaging learners in exploring works from fine arts, literature, theatre, cinema and music with a view to promoting critical reflection on one’s potentially problematic perspectives.
The learning potential of aesthetic experience is, however, barely exploited within educational systems. In addition, although major scholars have contributed to a deeper understanding of the liberating dimension of processing important artworks, there has been surprisingly little discussion in the relevant literature focusing on educational practice.
Exploring Art for Perspective Transformation provides a comprehensive analysis and synthesis of theoretical views pertaining to the emancipatory process of exploring art. Moreover, it presents the educational method Transformative Learning through Aesthetic Experience (TLAE), with reference to particular examples of implementation. TLAE is addressed to adult educators and school teachers regardless of the subject they teach and their theoretical background on aesthetics. It involves engaging learners in exploring works from fine arts, literature, theatre, cinema and music with a view to promoting critical reflection on one’s potentially problematic perspectives.
We live in a socio-cultural reality which is dominated by an entrepreneurial and instrumental rationality, as well as by a discriminative and populist mentality. Questioning the validity of taken-for-granted sovereign perspectives is thus of vital importance. Our contact with art can serve as a pathway through which we might be empowered to identify false life values and develop the disposition and ability to challenge them.
The learning potential of aesthetic experience is, however, barely exploited within educational systems. In addition, although major scholars have contributed to a deeper understanding of the liberating dimension of processing important artworks, there has been surprisingly little discussion in the relevant literature focusing on educational practice.
Exploring Art for Perspective Transformation provides a comprehensive analysis and synthesis of theoretical views pertaining to the emancipatory process of exploring art. Moreover, it presents the educational method Transformative Learning through Aesthetic Experience (TLAE), with reference to particular examples of implementation. TLAE is addressed to adult educators and school teachers regardless of the subject they teach and their theoretical background on aesthetics. It involves engaging learners in exploring works from fine arts, literature, theatre, cinema and music with a view to promoting critical reflection on one’s potentially problematic perspectives.
The learning potential of aesthetic experience is, however, barely exploited within educational systems. In addition, although major scholars have contributed to a deeper understanding of the liberating dimension of processing important artworks, there has been surprisingly little discussion in the relevant literature focusing on educational practice.
Exploring Art for Perspective Transformation provides a comprehensive analysis and synthesis of theoretical views pertaining to the emancipatory process of exploring art. Moreover, it presents the educational method Transformative Learning through Aesthetic Experience (TLAE), with reference to particular examples of implementation. TLAE is addressed to adult educators and school teachers regardless of the subject they teach and their theoretical background on aesthetics. It involves engaging learners in exploring works from fine arts, literature, theatre, cinema and music with a view to promoting critical reflection on one’s potentially problematic perspectives.
The chapters in
Art as an Agent for Social Change, presented as snapshots, focus on exploring the power of drama, dance, visual arts, media, music, poetry and film as educative, artistic, imaginative, embodied and relational art forms that are agents of personal and societal change. A range of methods and ontological views are used by the authors in this unique contribution to scholarship, illustrating the comprehensive methodologies and theories that ground arts-based research in Canada, the US, Norway, India, Hong Kong and South Africa.
Weaving together a series of chapters (snapshots) under the themes of community building, collaboration and teaching and pedagogy, this book offers examples of how Art as an Agent for Social Change is of particular relevance for many different and often overlapping groups including community artists, K-university instructors, teachers, students, and arts-based educational researchers interested in using the arts to explore social justice in educative ways. This book provokes us to think critically and creatively about what really matters!
Weaving together a series of chapters (snapshots) under the themes of community building, collaboration and teaching and pedagogy, this book offers examples of how Art as an Agent for Social Change is of particular relevance for many different and often overlapping groups including community artists, K-university instructors, teachers, students, and arts-based educational researchers interested in using the arts to explore social justice in educative ways. This book provokes us to think critically and creatively about what really matters!
The chapters in
Art as an Agent for Social Change, presented as snapshots, focus on exploring the power of drama, dance, visual arts, media, music, poetry and film as educative, artistic, imaginative, embodied and relational art forms that are agents of personal and societal change. A range of methods and ontological views are used by the authors in this unique contribution to scholarship, illustrating the comprehensive methodologies and theories that ground arts-based research in Canada, the US, Norway, India, Hong Kong and South Africa.
Weaving together a series of chapters (snapshots) under the themes of community building, collaboration and teaching and pedagogy, this book offers examples of how Art as an Agent for Social Change is of particular relevance for many different and often overlapping groups including community artists, K-university instructors, teachers, students, and arts-based educational researchers interested in using the arts to explore social justice in educative ways. This book provokes us to think critically and creatively about what really matters!
Weaving together a series of chapters (snapshots) under the themes of community building, collaboration and teaching and pedagogy, this book offers examples of how Art as an Agent for Social Change is of particular relevance for many different and often overlapping groups including community artists, K-university instructors, teachers, students, and arts-based educational researchers interested in using the arts to explore social justice in educative ways. This book provokes us to think critically and creatively about what really matters!
30 Years of the UN Convention on the Rights of the Child in Action towards Sustainability
This book investigates and uncover paradoxes and ambivalences that are actualised when seeking to make the right choices in the best interests of the child. The 1989 United Nations Convention on the Rights of the Child established a milestone for the 20th century. Many of these ideas still stand, but time calls for new reflections, empirical descriptions and knowledge as provided in this book.
Special attention is directed to the conceptualisation of children and childhood cultures, the missing voices of infants and fragile children, as well as transformations during times of globalisation and change. All chapters contribute to understand and discuss aspects of societal demands and cultural conditions for modern-day children age 0–18, accompanied by pointers to their future.
Contributors are: Eli Kristin Aadland, Wenche Bjorbækmo, Jorunn Spord Borgen, Gunn Helene Engelsrud, Kristin Vindhol Evensen, Eldbjørg Fossgard, Liv Torunn Grindheim, Asle Holthe, Liisa Karlsson, Stinne Gunder Strøm Krogager, Jonatan Leer, Ida Marie Lyså, Elin Eriksen Ødegaard, Czarecah Tuppil Oropilla, Susanne Højlund Pedersen, Anja Maria Pesch, Karen Klitgaard Povlsen, Gro Rugseth, Pauline von Bonsdorff, Hege Wergedahl and Susanne C. Ylönen.
Special attention is directed to the conceptualisation of children and childhood cultures, the missing voices of infants and fragile children, as well as transformations during times of globalisation and change. All chapters contribute to understand and discuss aspects of societal demands and cultural conditions for modern-day children age 0–18, accompanied by pointers to their future.
Contributors are: Eli Kristin Aadland, Wenche Bjorbækmo, Jorunn Spord Borgen, Gunn Helene Engelsrud, Kristin Vindhol Evensen, Eldbjørg Fossgard, Liv Torunn Grindheim, Asle Holthe, Liisa Karlsson, Stinne Gunder Strøm Krogager, Jonatan Leer, Ida Marie Lyså, Elin Eriksen Ødegaard, Czarecah Tuppil Oropilla, Susanne Højlund Pedersen, Anja Maria Pesch, Karen Klitgaard Povlsen, Gro Rugseth, Pauline von Bonsdorff, Hege Wergedahl and Susanne C. Ylönen.
30 Years of the UN Convention on the Rights of the Child in Action towards Sustainability
This book investigates and uncover paradoxes and ambivalences that are actualised when seeking to make the right choices in the best interests of the child. The 1989 United Nations Convention on the Rights of the Child established a milestone for the 20th century. Many of these ideas still stand, but time calls for new reflections, empirical descriptions and knowledge as provided in this book.
Special attention is directed to the conceptualisation of children and childhood cultures, the missing voices of infants and fragile children, as well as transformations during times of globalisation and change. All chapters contribute to understand and discuss aspects of societal demands and cultural conditions for modern-day children age 0–18, accompanied by pointers to their future.
Contributors are: Eli Kristin Aadland, Wenche Bjorbækmo, Jorunn Spord Borgen, Gunn Helene Engelsrud, Kristin Vindhol Evensen, Eldbjørg Fossgard, Liv Torunn Grindheim, Asle Holthe, Liisa Karlsson, Stinne Gunder Strøm Krogager, Jonatan Leer, Ida Marie Lyså, Elin Eriksen Ødegaard, Czarecah Tuppil Oropilla, Susanne Højlund Pedersen, Anja Maria Pesch, Karen Klitgaard Povlsen, Gro Rugseth, Pauline von Bonsdorff, Hege Wergedahl and Susanne C. Ylönen.
Special attention is directed to the conceptualisation of children and childhood cultures, the missing voices of infants and fragile children, as well as transformations during times of globalisation and change. All chapters contribute to understand and discuss aspects of societal demands and cultural conditions for modern-day children age 0–18, accompanied by pointers to their future.
Contributors are: Eli Kristin Aadland, Wenche Bjorbækmo, Jorunn Spord Borgen, Gunn Helene Engelsrud, Kristin Vindhol Evensen, Eldbjørg Fossgard, Liv Torunn Grindheim, Asle Holthe, Liisa Karlsson, Stinne Gunder Strøm Krogager, Jonatan Leer, Ida Marie Lyså, Elin Eriksen Ødegaard, Czarecah Tuppil Oropilla, Susanne Højlund Pedersen, Anja Maria Pesch, Karen Klitgaard Povlsen, Gro Rugseth, Pauline von Bonsdorff, Hege Wergedahl and Susanne C. Ylönen.
A Guidebook to Writing a Science Opera
The educational world is experiencing exciting yet tension-filled times. We all wish to strengthen and support creativity and creative teaching in schools. Yet recent debates about what “creativity” means, and how it should be implemented, raise the need for more specific approaches. Write a Science Opera (WASO) is one such approach. WASO is a transdisciplinary, inquiry-based approach to teaching at the intersection of art and science in schools. It is all about creative teaching and teaching for creativity.
Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.
Get ready for an exciting, creative journey …
Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.
Get ready for an exciting, creative journey …
A Guidebook to Writing a Science Opera
The educational world is experiencing exciting yet tension-filled times. We all wish to strengthen and support creativity and creative teaching in schools. Yet recent debates about what “creativity” means, and how it should be implemented, raise the need for more specific approaches. Write a Science Opera (WASO) is one such approach. WASO is a transdisciplinary, inquiry-based approach to teaching at the intersection of art and science in schools. It is all about creative teaching and teaching for creativity.
Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.
Get ready for an exciting, creative journey …
Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.
Get ready for an exciting, creative journey …
An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez
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.
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.
An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez
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.
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.
Awakening the Moral Imagination of Children
Echoes from a Child’s Soul: Awakening the Moral Imagination of Children presents remarkable poetry inspired by aesthetic education methodology created by children that were labelled academically, socially, and/or emotionally at-risk. Many children deemed average or below-grade level composed poetry beyond their years revealing moral imagination. Art psychology and aesthetic methodology merge to portray the power of awakening children’s voices once silenced. The children’s poetry heralds critical and empathic messages for our future. This book proposes an overwhelming need for change in America’s public-school education system so that no child is ignored, silenced, deemed less than, or marginalized.
Awakening the Moral Imagination of Children
Echoes from a Child’s Soul: Awakening the Moral Imagination of Children presents remarkable poetry inspired by aesthetic education methodology created by children that were labelled academically, socially, and/or emotionally at-risk. Many children deemed average or below-grade level composed poetry beyond their years revealing moral imagination. Art psychology and aesthetic methodology merge to portray the power of awakening children’s voices once silenced. The children’s poetry heralds critical and empathic messages for our future. This book proposes an overwhelming need for change in America’s public-school education system so that no child is ignored, silenced, deemed less than, or marginalized.
Visual Methodologies and Approaches to Research in the Early Years
Editor:
E. Jayne White
Seeing the World through Children’s Eyes brings an overarching emphasis on ‘seeing’ to early years research. The book provides an opportunity to see and hear from leading researchers in the field concerning how they work with visual methodologies and young children. It explores the problems, pitfalls and promises that these offer for reflexive, critical inquiry that privileges the ‘work of the eye’ whilst implicating the researcher ‘I’ for what is revealed. Readers are invited to see for themselves what might be revealed through their discoveries, and to contemplate how these ideas might influence their own seeings.
See inside the book.
See inside the book.
Visual Methodologies and Approaches to Research in the Early Years
Editor:
E. Jayne White
Seeing the World through Children’s Eyes brings an overarching emphasis on ‘seeing’ to early years research. The book provides an opportunity to see and hear from leading researchers in the field concerning how they work with visual methodologies and young children. It explores the problems, pitfalls and promises that these offer for reflexive, critical inquiry that privileges the ‘work of the eye’ whilst implicating the researcher ‘I’ for what is revealed. Readers are invited to see for themselves what might be revealed through their discoveries, and to contemplate how these ideas might influence their own seeings.
See inside the book.
See inside the book.
Case Studies in Methodology and Theory
Scholarship on adult education has fueled a high level of methodological creativity and innovation in order to tackle a diverse range of issues in a wide range of settings and locations in a critical and participatory manner. Adult education research is marked by the desire to do research differently and to conduct critical research with rather than about people which requires theoretical and methodological creativity. This entails a particular approach to how we seek to know the world in collaboration with people, to rupture hierarchical relations and to create new collaborative spaces of learning and research that encompass the diversity of people’s life experiences.
Doing Critical and Creative Research in Adult Education brings together both leading and emerging scholars in adult education research in order to capture the vitality and complexity of contemporary adult education research. This includes contributions on biographical, narrative, embodied, arts and media-based and ethnographic methods alongside the critical use of quantitative and mixed methods. This distinctive and rich methodological contribution has a general relevance and usefulness for all researchers and students in the social science and humanities, which draws attention to the importance of critical and creative participatory learning processes in human life and learning.
Doing Critical and Creative Research in Adult Education brings together both leading and emerging scholars in adult education research in order to capture the vitality and complexity of contemporary adult education research. This includes contributions on biographical, narrative, embodied, arts and media-based and ethnographic methods alongside the critical use of quantitative and mixed methods. This distinctive and rich methodological contribution has a general relevance and usefulness for all researchers and students in the social science and humanities, which draws attention to the importance of critical and creative participatory learning processes in human life and learning.
Case Studies in Methodology and Theory
Scholarship on adult education has fueled a high level of methodological creativity and innovation in order to tackle a diverse range of issues in a wide range of settings and locations in a critical and participatory manner. Adult education research is marked by the desire to do research differently and to conduct critical research with rather than about people which requires theoretical and methodological creativity. This entails a particular approach to how we seek to know the world in collaboration with people, to rupture hierarchical relations and to create new collaborative spaces of learning and research that encompass the diversity of people’s life experiences.
Doing Critical and Creative Research in Adult Education brings together both leading and emerging scholars in adult education research in order to capture the vitality and complexity of contemporary adult education research. This includes contributions on biographical, narrative, embodied, arts and media-based and ethnographic methods alongside the critical use of quantitative and mixed methods. This distinctive and rich methodological contribution has a general relevance and usefulness for all researchers and students in the social science and humanities, which draws attention to the importance of critical and creative participatory learning processes in human life and learning.
Doing Critical and Creative Research in Adult Education brings together both leading and emerging scholars in adult education research in order to capture the vitality and complexity of contemporary adult education research. This includes contributions on biographical, narrative, embodied, arts and media-based and ethnographic methods alongside the critical use of quantitative and mixed methods. This distinctive and rich methodological contribution has a general relevance and usefulness for all researchers and students in the social science and humanities, which draws attention to the importance of critical and creative participatory learning processes in human life and learning.
Discoveries in a Dance Theatre Lab through Creative Process-based Research
In
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 operandi 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.
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 operandi 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.
Discoveries in a Dance Theatre Lab through Creative Process-based Research
In
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 operandi 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.
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 operandi 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.
Issues and Directions
Volume Editor:
Bernard W. Andrews
Arts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled
Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies.
Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.
Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.
Issues and Directions
Volume Editor:
Bernard W. Andrews
Arts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled
Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies.
Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.
Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.