Details

Subject(s)

• Art in education [Browse]

Editor

• Chemi, Tatiana [Browse]
• Du, Xiangyun [Browse]

Series

River Publishers series in innovation and change in education. [More in this series]

Restrictions note

Open access

Summary note

Arts-Based Methods in Education Around the World aims to investigate 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 conceptualisations. 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.

Bibliographic references

Includes bibliographical references and index.

Source of description

• Description based on online resource; title from PDF title page (EBC, viewed March 13, 2018).
• Description based on online resource; title from PDF title page (EBC, viewed March 13, 2024).

Language note

English

Contents

• Front Cover
• Half Title Pages
• RIVER PUBLISHERS SERIES IN INNOVATION AND CHANGEIN EDUCATION - CROSS-CULTURAL PERSPECTIVE
• Title Page - Arts-Based Methods in Education Around the World
• Copyright Pages
• Contents
• List of Contributors
• List of Figures
• List of Tables
• List of Abbreviations
• Chapter 1 - Arts-Based Methods in Education -A Global Perspective
• 1.1 Learning and the Arts: A Long Journey
• 1.1.1 The Arts Are Good for Learning
• 1.1.2 The Arts in Society
• 1.1.3 Our Contribution
• References
• Chapter 2 - Artistry in Teaching: A Choreographic Approach to Studying the Performative Dimensions of Teaching
• 2.1 Introduction
• 2.2 Artistry in Teaching
• 2.3 Choreography as a Framework for Exploring Teaching
• 2.3.1 Data Collection
• 2.3.2 Embodied Method
• 2.4 A Day in the Life of the Classroom
• 2.4.1 Before the Class Begins
• 2.4.2 During the Class
• 2.4.3 Summary
• 2.5 The Choreography and the Dance: Curriculum Embodied
• 2.5.1 Scripting an Experience
• 2.5.2 Creating Experiences on the Fly
• 2.5.3 Structure Embodied
• 2.6 Conclusion
• Chapter 3 - New and Different: Student Participation in Artist-School Partnerships1
• 3.1 Something New in the State of Denmark
• 3.2 A Laboratory for the Arts and Culture
• 3.3 Partnership: What's in a Name?
• 3.4 The Arts Education Tradition
• 3.5 Methodology
• 3.6 Findings
• 3.7 "This Is Really Cool"
• 3.8 Different from School
• 3.9 Broader and Future Perspectives
• Chapter 4 - Designing Activities for Teaching Music Improvisation in Preschools - Evaluating Outcomes and Tools
• 4.1 Introduction
• 4.2 Previous Literature
• 4.2.1 Understandings and Applications of Improvisation in Music
• 4.2.2 Existing Approaches in Improvisation Pedagogy
• 4.2.3 The Scottish Context for 3-18 Education.
• 4.3 Theoretical and Methodological Tools
• 4.3.1 Activity Theory as an Analytical Framework
• 4.3.2 Research Questions
• 4.3.3 Novel Constructs
• 4.3.4 Methods
• 4.3.4.1 Study design
• 4.3.4.2 Data gathering and analysis
• 4.4 Results
• 4.4.1 Workshop Activity 1: Descriptive Improvisation
• 4.4.2 Tensions in Star Music
• 4.4.3 Workshop Activity 2: Free Improvisation
• 4.4.4 Tensions in Free Improvisation Activity
• 4.5 Discussion and Conclusions
• 4.5.1 What Was the Educational Outcome in My Improvisation Activities?
• 4.5.2 What Tools Were Used in Mediating These Outcomes?
• 4.5.3 Conclusions
• Acknowledgements
• Chapter 5 - Revisiting Japanese Multimodal Drama Performance as Child-Centred Performance Ethnography: Picture-Mediated Reflection on 'Kamishibai'
• 5.1 Introduction
• 5.1.1 Kamishibai as Performance Ethnography
• 5.1.2 Brief Sketch of Kamishibai
• 5.2 Materials and Methods
• 5.3 Results and Discussion
• 5.3.1 Collaborative Story-Making with Children's Drawn Pictures
• 5.3.2 Child-Initiated Kamishibai
• 5.4 Conclusion
• Chapter 6 - The Accordion Book Project: Reflections on Learning and Teaching
• 6.1 Background
• 6.2 A Proposition
• 6.3 Research Questions
• 6.4 What Is Accordion Book Practice?
• 6.5 Core Idea #1: Mapping the Terrain: Exploring, Guiding and Getting Lost
• 6.5.1 Mapping
• 6.5.2 Getting Lost and Seeing Anew
• 6.6 Core Idea #2 Exchange as Art: What Happens in an Exchange?
• 6.6.1 Collaboration
• 6.6.2 Dialogue/Feedback
• 6.7 Core Idea #3 Things Talk to Me: Being Alert to What Grabs Me
• 6.7.1 Grabbiness
• 6.7.2 Revisiting Documentation
• 6.7.3 Unintentional, Intentional and Natural Grabbiness
• 6.7.4 Using Accordion Books to Capture the Dialogue
• 6.8 Core Idea #4: What Would an Artist Do? Teachers and Students as Contemporary Artists.
• 6.8.1 Contemporary Art Practice/Pedagogic Practice/Accordion Book Practice: Challenges, Methods and Forms
• 6.9 Core Idea #5: Getting Out of My Own Way: Trusting the Process and Resisting Closure
• 6.9.1 How Do We Get Out of Our Own Way?
• 6.10 Pictures of Accordion Book Practice
• 6.10.1 Derek Fenner: Things Talk to Me, Exchange, What Would an Artist Do?
• 6.10.2 Caren Andrews: Mapping Terrains, Getting Out of My Own Way, Exchange
• 6.10.3 Devika G: Things Talk to Me, Mapping Terrains, Getting Out of My Own Way
• 6.11 Some Challenges to Accordion Book Methodologies
• 6.12 Conclusion
• Chapter 7 - Practice-Based Reflections of Enabling Agency through Arts-Based Methodological Ir/Responsibility
• 7.1 Disrupting Positionality in Educational Research
• 7.1.1 The Possibilities for Methodological Ir/Responsibility
• 7.2 Methodology
• 7.3 Practice-Based Reflections on the Purposive Validity of Arts-Based Methods
• 7.3.1 Creating the Conditions to 'Listen' to Participants' Experiences in and of HE for Evaluation Purposes
• 7.3.2 Creating the Conditions for Participants to Author their Stories of HE
• 7.3.3 Concerns, Limitations and Improvement
• 7.4 Conclusion
• Chapter 8 - Blind Running: 25 Pictures Per Page
• Chapter 9 - How Can Inspiration Be Encouraged in Art Learning?
• 9.1 Introduction
• 9.2 A Brief Review of Psychological Studies on Inspiration
• 9.2.1 Psychological Model of Inspiration for Art-Making through Art Appreciation (ITA)
• 9.3 Factors That Promote Inspiration for Art-Making through Art Appreciation in Educational Settings
• 9.3.1 Interventions
• 9.4 An Example of Educational Practice for Promoting Inspiration
• 9.4.1 Changes in the Students with Each Educational Intervention
• 9.4.2 The 1st Intervention.
• 9.4.3 The 2nd Intervention
• 9.4.4 Presentation
• 9.4.5 Changes in Students' Artistic Activities throughout the Course
• 9.5 Conclusion
• Acknowlegdements
• Chapter 10 - What Are the Enabling and What Are the Constraining Aspects of the Subject of Drama in Icelandic Compulsory Education?
• 10.1 Introduction
• 10.2 Learning Through the Arts
• 10.2.1 Learning Through Drama
• 10.2.2 Drama in the Icelandic National Curriculum
• 10.3 Theoretical Perspective
• 10.3.1 The Practice Architectures
• 10.3.2 Feedback Loops and Dialectical Tensions
• 10.3.3 Data
• 10.4 Four Perspectives on the Implementation of a Drama Curriculum
• 10.5 The Intersubjective Spaces in the Drama Teaching Practice
• 10.5.1 The Importance of the Semantic Space
• 10.5.2 The Importance of Activity in Space-Time
• 10.5.3 The Importance of the Social Space: Relations, Solidarity and Power
• 10.5.4 Enabling Feedback Loops of the Practice Architectures in Drama Practice
• 10.5.5 Constraining Feedback Loops of the Practice Architectures in Drama Practice
• 10.6 Conclusion
• Chapter 11 - The Art of Co-Creating Arts-Based Possibility Spaces for Fostering STE(A)M Practices in Primary Education
• 11.1 Creating Possibility Spaces for STE(A)M in Primary Education
• 11.1.1 Introducing Art-Based Perceptual Ecology (ABPE) Methodology
• 11.1.2 Introducing the Installation 'With the Heart of a Child'
• 11.2 Analysis and Findings
• 11.2.1 Teachers' Experience of and Interaction with the Installation (First Exposure to the Installation and Artist-Led Participatory Teacher Workshop)
• 11.2.2 Children's Exposure to and Interaction with the Installation
• 11.2.3 Trans-Disciplinary Learning Spaces
• 11.2.4 Teacher-Led Didactic Formal Classroom Session
• 11.3 Concluding Discussion
• Index
• About the Editors.
• About the Authors
• Back Cover.

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ISBN

• 1-00-333726-0
• 1-000-79618-3
• 1-003-33726-0
• 1-000-79341-9
• 87-93609-37-X

OCLC

1027184442

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