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The Writing Shop

Putting 'Shop' Back in Writing Workshop

Series:

Suzanne Farrell Smith

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.
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Three Approaches to Qualitative Research through the ARtS

Narratives of Teaching for Social Justice and Community

Seungho Moon

This book incorporates art-based, partnership-oriented inquiry into social justice discourses and advances qualitative research strategies through the medium of three theoretical frameworks: phenomenology, critical ethnographic research, and poststructuralist theories. Maxine Greene's aesthetic theories motivated to create the ARtS initiative and the author explores the possibility of enhancing children’s understanding of active citizenship and community. It illustrates narratives from children in an urban context while they developed a sense of constructive community and active citizenship in an afterschool program called the ARtS (aesthetic, reflexive thoughts, & sharing) initiative.

As a qualitative methodology text, Three Approaches to Qualitative Research through the ARtS explicates theoretical tenets and research strategies in art-based research. This book shows three examples of how to connect a theoretical framework with the analysis of ethnographic data. A nexus between theory and practice enables researchers and practitioners to understand the value of aesthetic-inspired programs to foster democratic citizenship and to advance equity issues. Social justice-oriented teacher educators, qualitative researchers, and artists will explore and learn how the ARtS initiative recognizes the power of art and multiple research methodologies in imagining and representing a community differently and advancing social justice in a challenging time.
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Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 68 (2018)

Lessons in Art. Art, Education, and Modes of Instruction since 1500

Edited by Ann-Sophie Lehmann and Bart Ramakers

Why, how, to whom and by whom was art taught? Lessons in Art (Netherlands Yearbook for History of Art, Vol 68) provides new answers to these questions by addressing the relation between art and education in the Netherlands from 1500 to the 1970s. The authors gathered in this volume consider the practical education of artists within a wide societal context. They present new ways of looking at teaching materials and methods and show how art was employed as a powerful teaching aid. From early-modernity to the present, education, it appears, fuels the production and perception of art.

Table of Contents
1. Ann-Sophie Lehmann & Bart Ramakers, Introduction
2. Caecilie Weissert, Clément Perret’s Exercitatio alphabetica (1569). A calligraphic textbook and sample book on eloquence
3. Koen Jonckheere, Aertsen, Rubens and the questye in early modern painting
4. Edward H. Wouk, From Lambert Lombard to Aby Warburg. Pathosformel as grammar
5. Bart Ramakers, Paper, paint, and metal foil. How to costume a tyrant in late sixteenth century Holland
6. Jenny Boulboullé, Drawn up by a learned physician from the mouths of artisans. The Mayerne manuscript revisited
7. Erin Travers, Jacob van der Gracht’s Anatomie for artists
8. Julie Remond, ‘Draw everything that exists in the world’. ’t Light der Teken en Schilderkonst and the shaping of art education in early modern northern Europe
9. Ann-Sophie Lehmann, An alphabet of colours. Painting as practice and metaphor in seventeenth-century pedagogy
10. Joost Keizer, Rembrandt’s nature. The ethics of teaching style in the Dutch Republic
11. Erin Downey, Learning in Netherlandish workshops in seventeenth-century Rome
12. Annemarie Kok, Do it yourself! Lessons in participation in a dynamic labyrinth in the Stedelijk Museum Amsterdam
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Art Therapy in Australia

Taking a Postcolonial, Aesthetic Turn

Edited by Andrea J. Gilroy, Sheridan Linnell, Tarquam McKenna and Jill Westwood

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.
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Art, Culture, and Pedagogy

Revisiting the Work of F. Graeme Chalmers

Edited by Dustin Garnet and Anita Sinner

The legacy of Graeme Chalmers’s research in art education underpins a foundational understanding of critical multiculturalism and offers a rigorous analysis of oppression and institutionalization of unequal power relations. His work begins in stories involving disruption and advocacy, and how when working in collaboration, we may then begin to share lived knowledge in ways that bring sociopolitical dimensions to the fore to help us move towards breaking cycles of divisiveness. International scholars share both reflective commentaries that look back upon Graeme Chalmers’s contributions, as well as offer diverse perspectives that look forward to the enduring potentialities and possibilities of his work today and into the future. These perspectives are presented alongside thirty years of his scholarship creating new insights and provocations that will continue to influence our collective work for social justice. Art, Culture, and Pedagogy: Revisiting the Work of F. Graeme Chalmers holds timeless wisdom, articulating Graeme’s deep respect for cultural pluralism, his passionate embrace of inclusivity and diversity, and his dedication to social justice issues – all issues of compelling urgency today. His distinguished international leadership and his pioneering ideas continue to be adopted, engaged, and applied at all levels of art education.
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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.
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The Five Continents of Theatre

Facts and Legends about the Material Culture of the Actor

Series:

Eugenio Barba and Nicola Savarese

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.
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ACTive pARTicipation

Social Inclusion and Drama Research

Series:

Jo Raphael and Kelly Freebody

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Defiant Bodies

A Punk Rock Crip Queer Cabaret: Cripping and Queering Emancipatory Disability Research

Series:

Emma Selwyn and Liselle Terret

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How Do Culture and Power Work in and through Drama Research?

An e-Conversation between Selina and Brian

Series:

S. Busby and B. S. Heap