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Engaging People, Place and Context with Big hART
Authors: and
This book provides a unique insiders account of the work of Big hART, one of Australia’s leading participatory arts organisations. Founded on the values of social justice, creativity and transformation Big hART seeks to mobilise a range of community resources including young people, elders, artists, and community activists to produce high quality public performances of merit and social worth. Located in diverse geographic, social and cultural settings across Australia’s vast landscape, these creative works generate intergenerational understandings of the cultural processes of individual and collective transformation strengthening capabilities, identity, and connected belonging. This book documents a series of powerful stories that illuminate the ideological, artistic and cultural pathways and learnings gifted by the generosity of participants themselves.
Core texts addressing creativity in a number of contexts show that creativity as a scientific subject has received principally the attention of Western scholars. Is this due to the fact that Western cultures are more creative or sensitive to creativity than the Eastern cultures? The editors strongly believe that this is more due to the differences in understanding and practising creativity in the West and East than to an Eastern indifference to creativity.

Arts-Based Education: China and Its Intersection with the World investigates the field of arts-based educational practices and research. It argues that reflections on these themes must necessarily be reframed and re-read beyond the limits of colonialist oppositions and suggests a constructive and reflexive approach to theory and methodology, which takes into account intercultural and critical perspectives in these studies.

This volume is the tangible product of the acknowledgement that China and Chinese culture deserves a more systematic and up-to-date dissemination through recent studies that bring together the arts, learning and creativity. It is clustered around two themes: (1) China and its communication with the world through arts-based education in international contexts, and (2) the development of arts education in China.
Series Editors: , , and
Arts, Creativities, and Learning Environments in Global Perspectives aims at investigating the encounters that can occur between the arts and creativities in various learning environments and cultural contexts. The series intends to explore the multiplicity of these approaches by presenting perspectives from diverse learning environments, not solely formal institutions like schools, universities, academies, and colleges, but also non-formal ones (cultural institutions, libraries, museums, theatres, orchestras, archives, organisations, and work-places) or informal ones (play and games, community projects, amateur art, and clubs). This means that a pluralistic view on the artS – indeed, plural – is being embraced by including artistic expressions from all genres and artistic encounters at all levels, including the arts-based, artist-led, arts-inspired, arts-integrated. We encourage contributions from all over the world, in order to challenge a well-established Western-centred understanding of creativity and art (singular). This series will strongly support global perspectives, cross-cultural studies, critical theories, creative dissemination and a broader re-framing of the role of the arts for learning and for society.
The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part.

The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern:

■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals;
■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours;
■ the information to be provided to the public: announcements, posters, advertising, parades;
■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term;
■ sets, lighting, sound, makeup, costumes, props;
■ the relations established between actor and spectator;
■ the means of transport adopted by actors and even by spectators.

Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.
Taking a Postcolonial, Aesthetic Turn
Art Therapy in Australia: Taking a Postcolonial, Aesthetic Turn explores and enacts established and emergent art therapy histories, narratives and practices in the specific postcolonial context of contemporary Australia. It is the first published book to attempt to map this terrain. In doing so, the book aims to document important aspects of art therapy in Australia, including how Australian approaches both reiterate and challenge the dominant discourse of art therapy. This book is as much a performance as an account of the potential of art therapy to honour alterity, illuminate possibilities and bear witness to the intrapsychic, relational and social realms. The book offers a selective window into the rambling assemblage that is art therapy in the ‘Great Southern Land’.

Contributors are: Jan Allen, Bronwyn Davies, Claire Edwards, Nicolette Eisdell, Patricia Fenner, John Henzell, Pam Johnston, Lynn Kapitan, Carmen Lawson, Sheridan Linnell, Tarquam McKenna, Michelle Moss, Suzanne Perry, Josephine Pretorius, Jean Rumbold, Victoria Schnaedelbach, Lilian Tan, Jody Thomson, Jill Westwood, Amanda Woodford, and Davina Woods.
Children in Special Education Using Artmaking for Social Change
Volume Editor:
School communities identified these children as the “throwaways”-children who often experienced bullying, abuse, foster care, juvenile detention, and special education services. In this book, children with learning differences engage in artmaking as sensemaking to deepen their understanding of what it means to live on the margins in U.S. public K-12 schools. Their artmaking calls upon educators, school leaders, and policymakers to actively engage in addressing the injustices many of the children faced in school. This book is revolutionary. For the first time, children with learning differences, teachers, staff, and school leaders come together and share how they understand the role artmaking as sensemaking plays in empowering disenfranchised populations. Together, they encourage school community members to examine pedagogical practices, eliminate exclusive policies, and promote social justice-oriented work in schools. Their artmaking inspires new ways of knowing and responding to the lived experiences of children with learning differences. They hope their work encourages school communities to make authentic connections to improve their learning, capacity to love others, and of most importantly, to value oneself. Authors’ first-tellings capture the human experience of navigating through oppressive educational systems. Authors urge us to consider what it means to be empathic and to engage in the lives of those we serve. Their truths remind us to that standing still should never be an option.
Putting 'Shop' Back in Writing Workshop
Since the 1970s, writing workshop has been a go-to method for teaching writing. It’s helped students of all ages find their voices and stories while developing skills and craft. In The Writing Shop, the author reimagines what writing workshop can be. By studying workshops of different kinds—carpentry, textile, machine—she pushes us to see writing workshop the way other makers see their own shops, as places where creativity is fueled by the sensory experience. When the essential elements of all workshops are adopted in writing workshop, the author argues, writers will flourish.

The author builds on writing workshop literature to introduce the model to newcomers, while offering practical advice for those looking to strengthen their writing instruction. The Writing Shop illustrates what happens when writing is taught in an authentic shop: play is prioritized, all types of learners are included, and a host of skills beyond the mechanics of composition are embedded in the process of learning to write.

With its stories from diverse workshops and emphasis on exploration and experimentation, The Writing Shop shows us that learning to write can be, above all things, fun.