Anderson, T. (1995). Rediscovering the Connection between the arts. Arts Education Policy Review, Heldref Publications. 96: 10.

Discusses the relationship between the arts and society. Early on, the arts were inseparable and not considered disciplines; Arts as necessary and integral to the fabric of society; Integration of skills, beauty, and quality; The arts based on society's needs for expression of beliefs and self-affirmation; Integrated survival functions; Addressing of interdisciplinary arts education; Highlights of several writings on teaching of the arts.

 

Armistead, M. (1996). Constructivism and Arts Based Programs. Early Childhood Educators' Conference, Minneapolis , MN , National Association of Early Childhood Educators.

Studies indicate that arts education improves math learning in early elementary years, promotes significant cognitive gains, supports discovery, and builds knowledge. This conference paper indicates the importance of the arts in early education curriculum and provides an innovative way for teachers to bring constructivism into the classroom. It describes a constructivist early childhood arts-base.

 

Bagley, C. and M. B. Cancienne (2001). "Educational Research and Intertextual Forms of (Re)Presentation: The Case for Dancing the Data." Qualitative Inquiry 7(2): 221-237.

Contemporary dialogues concerning qualitative methodology focus increasingly on alternative forms of data (re)presentation. This article explores the use of dance as a medium for such (re)presentation. The article contextualizes, describes, and reflects on a performance by the authors staged at the 1998 Annual Conference of the American Educational Research Association. The (re)presentation in words and movement was choreographed from research on school choice policy and its impact on families whose children have special educational needs, undertaken by one of the authors in the United Kingdom . In reflecting on the process, the article discusses some of the difficulties and advantages derived from the performance and stresses the need for creating a space for intertextual forms of data (re)presentation within the academy.

 

Baptist, K. W. (2002). "The Garden as Metaphor for Curriculum." Teacher Education Quarterly 29(4): 19-37.

The garden can be considered as a metaphor for curriculum. The garden, like the curriculum, is mainly a social construct that reflects the maker's intent and prevailing cultural ideologies. The garden and the curriculum reference the artistry of creation within an aesthetic of experience, can be rigorously planned or can be wild, and can awaken the senses, offer delight, and evoke love at their best or foster hatred, terror, and prejudice at their worst. Using the garden-curriculum metaphor, curriculum can be viewed from the unique stance provided by six muses of the contemporary garden--faith and spirituality, power, ordering, cultural expression, personal expression, and healing--and can be reimagined so that it welcomes dreams and visions, honors the senses and engages the body, and connects to people and the earth.

 

Barone, T. (1992). "On the demise of subjectivity." Curriculum Inquiry 22(1): 25 - 38.

Barone, T. (2001). "Science, art, and the predisposition of educational researchers." Educational Researcher 30(7): 24 - 28.

The following comments represent my contribution to the ongoing conversation in the pages of Educational Researcher about the wisdom of legitimating as research certain non-scientific forms of educational inquiry (Eisner, 1997, 1999; Knapp, 1999). Professor Richard Mayer (2000) has provided the most recent addition to that conversation. In a piece entitled “What is the Place of Science in Educational Research?” Dr. Mayer insists that educational research, whether qualitative or quantitative in nature, resides exclusively within the domain of science. In his view, wandering outside of the clearly drawn boundaries of science risks stepping in quantitative approaches “such as those used in astrology, numerology, and phrenology,” or qualitative ones “such as those in the arts.” Referring directly to arts-based approaches to educational research, Mayer writes, “In my opinion. it would be a grave mistake for educational researchers to turn their backs on science” (p. 39).

 

Barone, T. (2003). "Challenging the Educational Imaginary: Issues of Form, Substance, and Quality in Film-Based Research." Qualitative Inquiry 9(2): 202-217.

This article addresses issues of quality in film-based educational research projects. It recommends criteria related to aesthetic form and substance as appropriate for judging the usefulness of educational films in achieving one possible goal for film-based educational research. That goal is to effectively challenge the prevailing educational imaginary. This imaginary is described as a set of images of schools and school people, rooted in the larger culture, that supports a debilitating master narrative about education. Issues of quality and utility are explored within the context of one teacher-made film exhibited at (among other places) a film festival at the author's college of education.

 

Barton, R. and J. Gupton (2000). ""Gogging": A Model for Theatre Pedagogy." Theatre Topics 10(2): 169-83.

Proposes a model for training college students in theater arts based on a pedagogy program employed at the University of Oregon . Notes that this pedagogy process differs from student teaching in that it meets the particular needs of each participant. Outlines the components of the program, which include office hours, a journal, secretarial tasks, grading, discussion, critiquing, counseling, coaching, teaching, and a final summary. (PM)

 

Beckwith, A. (2003). "Improving business performance - the potential of arts in training." Industrial and Commerical Training 35(4/5): 207 - 209.

Successful employee development is about changing attitudes and motivation before changing behaviour. The performing arts at their best can move an audience towards a particular state of mind; by adapting drama and music techniques for corporate training, they can be used to influence attitude and motivation, as well as develop core skills. In practice, various arts-based training methods have been used to develop key communication skills, to examine sensitive issues which might otherwise be difficult to bring into the open, and to dramatically represent complex business issues. For those companies prepared to invest in it, arts-based training can also be a catalyst for creativity in business. In an environment where creative advantage can increasingly be equated with competitive advantage, this is significant.

 

Beer, A. (2001). "Editorial: Arts education and arts-based education." McGill Journal of Education 36(3): 189 - 193.

Beirne, M., & Knight, S. (2004). "The art of reflective management: Dramatic insights from Scottish community theatre." International Journal of Arts Management 6(2): 33 - 43.

In Britain , developments at the sharp end of arts management have been intensely controversial. Artists and arts workers have been highly critical of the way that management techniques have been imported into their organizations from the corporate sector, often with counterproductive consequences. Acknowledging their concerns, this paper argues that exchanges between management and the arts can usefully be developed in a two-way rather than predominantly passive or one-way fashion, with arts and other organizations drawing managerial value directly from artistic traditions and creative practices.

 

Binder, M. (2003). "One inner city teacher's story." Orbit 33(3): n/a.

How were our inner city students going to absorb all this information? How were teachers going to cover this curriculum and still maintain authenticity in their teaching and in their students' learning? How were parents going to see the overall picture in their child's learning, and not just focus on the results of testing, or marks? These questions reflected some of the problems my colleagues and I encountered at the onset of this curriculum implementation--and these concerns continue today. The words of John Goodlad aptly echoed my feelings: "I question the usefulness of a curriculum dreamed up out of one head intended for all settings" (1994, p. 31).

 

Bitz, M. (2004). The Comic Book Project: Forging alternative pathways to literacy. Journal of Adolescent & Adult Literacy, International Reading Association. 47: 574.

Provides information on The Comic Book Project, an arts-based literacy initiative for youth in urban after-school programs in New York City . Reason for using comic books to promote arts and literacy; Goals of the project; Details of the staff training workshops; Outcome of the project.

 

Blumenfeld-Jones, D. S. (2004). "Hogan Dreams." Qualitative Inquiry 10(3): 316-338.

"Hogan Dreams" is a set of poems, autobiographical stories, theoretical musings and songs portraying a Navajo curriculum development project. In the Preamble to the piece, the author discusses the process of art making as being, in some ways, parallel to social science practices, thus qualifying art making as a legitimate form of research. The author also notes the ways in which art making is a distinctive form of research. In the Postscript to the piece, the author discusses how art making can be useful for the practice of evaluation as it allows evaluators and receivers of evaluations to have an experience that brings them into fruitful closer proximity with the situation under evaluation.

 

Bochner, A. P. and C. Ellis (2003). "An Introduction to the Arts and Narrative Research: Art as Inquiry." Qualitative Inquiry 9(4): 506-514.

Bond, W. R. and I. Westbury (2001). "Book Reviews." Teachers & Teaching 7(1): 89-109.

Reviews books on teaching. 'The Postmodern Educator: Arts Based Inquiries and Teacher Development,' by C. Diamond and C. Mullen; 'The Realities of Teachers' Work: Never a Dull Moment,' by Sandra Acker.

 

Browne, N. and K. McNaughton (2000). "Integrated projects in university classrooms: celebrating culture." Canadian Social Studies 34(2): 19.

This assignment was expected to give students an opportunity to deepen their cross-cultural understanding and knowledge through research and active involvement. We were very deliberate in our planning because we recognized that projects created around celebrations, as suggested by Caroline Perry (1987), and designed for use in schools, have had mixed reviews in recent years. Louise Derman-Sparks (1989, 7) critiques this approach, using the term "tourist curriculum" to describe classroom events that provide learners with superficial experiences -- food, dance, music, objects, and pictures -- from a specific culture or region. A major goal of the celebration project was to facilitate the development of cultural sensitivity in pre-service teachers. This project helped students and instructors recognize that boundaries between these subjects are illusory: They are created by the institution and maintained by practice. They are not the result of children's thinking processes or teachers' own personal experiences. In their presentations and discussion, students demonstrated their ability to make links among the concepts, pedagogical possibilities, and "big ideas" (Wassermann 1990, 96) that frame arts education and social studies curricula.

 

Brunson, R., Zephryn, C., & Masar, S. (2002). The art in peacemaking: A guide to integrated conflict resolution education into youth arts programs. N. C. f. C. R. Education : 77.

This resource guide provides information and tools that introduce arts teachers to conflict resolution skills and processes. The guide also contains various arts-based exercises that can be used to introduce conflict resolution concepts to young people in the classroom. These exercises serve merely as a starting point; arts teachers are encouraged to develop their own activities that will work be.

 

Butler-Kisber, L. (2002). "Artful portrayals in qualitative inquiry: the road to found poetry and beyond." Alberta Journal of Educational Research 48(3): n/a.

Elliot Eisner from Stanford University and Tom Barone from Arizona State University have been largely responsible for spearheading this movement now known as arts-based qualitative inquiry. In addition to their writing and numerous presentations across the continent and beyond, in the early 1990s they began the American Educational Research Association Research (AERA) Institute on Arts-based Qualitative Research and the Arts-based Special Interest Group (SIG) that meets and presents annually at the AERA conference. These initiatives helped to create a large network of researchers including those who are using arts-based approaches, as well as artists interested in qualitative work. They opened avenues and special formats for presenting work at what had been previously a very traditional conference. Interest in this kind of research has increased exponentially as these approaches have become accepted and legitimized. It is now the rule rather than the exception to have arts-based work presented as exhibitions and performance sessions, published in journals such as Qualitative Inquiry and the Journal of Critical Inquiry into Curriculum and Instruction, and produced as theses (Hussey, 2000). Increasingly, graduate students are looking for arts-based expertise, and departments are grappling with how to support and evaluate the work.

 

Butler-Kisber, L. P., J. (2003). "Editorial: The challenge of student engagement: Beyond mainstream conceptions and practices." McGill Journal of Education 38(2): 207 - 220.

Butterwick, S. (2002). "Your story/my story/our story: performing interpretation in participatory theatre [Transforming Dangerous Spaces project]." Alberta Journal of Educational Research 48(3): n/a.

In this article, I outline an approach to interviewing and "data" interpretation that I encountered in a feminist, community-based participatory theatre project. In 1998 I began work with Jan Selman,(1) a feminist theatre director with many years of experience in community theatre on a project we called Transforming Dangerous Spaces (TDS). This name was selected to illustrate the risk-taking and dangerous spaces that exist in many feminist organizing and coalition projects and a desire to create more equitable social relations among women. The purpose of the community-based collaborative project was to use the power of popular or participatory theatre processes to explore the conflict and challenges (mainly in relation to difference) that seemed to be recurring within North American feminist coalition and feminist organizing efforts. Twelve other women joined the project,(2) including two other experienced facilitators (Sheila James and Caroline White), and we began a journey of discovery, meeting every Saturday morning at a local neighborhood house for two intensive four-month periods.

 

Butterwick, S. and J. Selman (2003). "intentions and context: popular theatre in a North American context." Convergence 36(2): 51 - 66.

Buttignol, M. (1999). "We are our stories: beginning with the personal in teacher education." Orbit 30(3): 38.

The process of becoming a teacher can involve shedding the personal- self in order to adopt the mantle of the professional teacher-self. When the personal-self is separated by too great a distance from the professional-self, what could be teacher "education" amounts to mere "training," that is, the transmission of skills and subject content. Nachmanovitch (1990) distinguishes "education" from "training:" "We often make the mistake of confusing education with training, when in fact these are very different activities. Training is for the purpose of passing on specific information necessary to perform a specialised activity. Education is the building of a person. To educe means to draw out or evoke that which is latent; education then means drawing out the person's latent capacities for understanding and living, not stuffing a (passive) person full of preconceived knowledge." (p. 118) As past experiences are unearthed and translated into stories, we reflect upon how they inform our developing teaching practice. We use guided imagery (Houston, 1987; Hunt, 1992) to elicit hidden memories from our own childhood and youth.

 

Buttignol, M. and C. T. P. Diamond (2002). "Hood Initiation: Jewels of Leadership or Jinns of Temptation." Teacher Education Quarterly 29(4): 79-96.

The writers use arts-based methods to inquire into educational leadership. They use the concepts of initiation and rites of passage to consider the world of educational leadership in the academy, with one of the writers shaping her personal stories and myths through encounters with her dreams, images, and the voice of her childhood creative self. They present an inquiry into leadership using arts-based and heuristic approaches to research; use myths of creation and the hero as a framework for leadership development; discuss one of the writer's experiences of working as a new leader, her return home after her harrowing leadership journey, and the discoveries that she brought home from that journey; and present advice for those journeying toward becoming a better leader.

 

Cahnmann, M. (2003). "The craft, practice, and possiblity of poetry in educaitonal research." Educational Researcher 32(3): 29 - 36.

Developing a poetic voice prepares scholars to discover and communicate findings in multidimensional, penetrating, and more accessible ways. The author explores the craft, practice, and possibility for a poetic approach to inquiry among teaching and learning communities and encourages all researchers, especially those using qualitative methodologies, to consider what poets do and learn how to incorporate rhythm, form, metaphor, and other poetic techniques to enhance their work. Examples are presented of poetic techniques from research. The author discusses the use of poetry as a means for educational scholarship to impact the arts, influence wider audiences, and improve teacher and graduate student education.

 

Cameron, H., McKaig, W. & Taylor, S. (2003). Crossing the threshold: Successful learning provision for homeless people. London , UK , Learning and Skills Development Agency : 55.

This guide tells the story of a successful collaboration between The City Literary Institute and homelessness agencies to create an arts-based learning program for homeless people in central London . It identifies guidelines and good practice to stimulate similar work in other locations with problems of homelessness and rough sleeping. The guide is intended for managers in learning providers, home.

 

Cancienne, M. B. and C. N. Snowber (2003). "Writing Rhythm: Movement as Method." Qualitative Inquiry 9(2): 237-253.

As choreographers, dancers, and researchers, the authors explain how choreography and self-reflective writing inform qualitative practices such as articulating the importance of the self as a place of discovery within the research process. The authors use choreography to explore dance as a place of inquiry and the body as a site for knowledge and to examine how this awareness influences their interpretation of educational research. They conclude by discussing the problems and possibilities of this artful approach to educational research.

 

Cannella, G. S. and Y. S. Lincoln (2004). "Epilogue: Claiming a Critical Public Social Science--Reconceptualizing and Redeploying Research." Qualitative Inquiry 10(2): 298-309.

Carroll, K. L. (1993). Taking responsibility: Higher education's opportunity to affect the future of the arts in the. Arts Education Policy Review, Heldref Publications. 95: 17.

Suggests that the future of the arts in the schools will be profoundly affected by what higher education chooses or does not choose to do. Herbert Read's vision of education in which the arts played a central and dynamic role; `The Structure of Scientific Revolutions,' by Thomas Kuhn; Textbooks in educational psychology and the lack of arts-based theory; More.

 

Chambers, C. (2004). "Research that matters: Finding a path with heart." Journal of the Canadian Association for Curriculum Studies 2(1): 1 - 19.

Chang, P. J. R., Jerry. (2003). "Anti-Colonialist Antinomies in a Biology Lesson: A Sonata-Form Case Study of Cultural Conflict in a Science Classroom." Curriculum Inquiry 33(3): 251 - 290.

This case study illustrates and analyzes the tension an ESL science teacher encountered when his science curriculum came into conflict with the religious and cosmological beliefs of one of his Hmong immigrant students. A Hmong immigrant himself, the teacher believes the science he is teaching is important for all his students to learn. He also understands how his science curriculum can be one part of an array of cultural forces that are adversely affecting the Hmong community. The case study examines this tension, but does not resolve it. Instead, the study explores the knowledge the teacher draws upon to respond to the tension in a caring and constructive manner. This knowledge includes the teacher's understanding of science and pedagogy. It also includes his understanding of Hmong history, which enables him to hear what his science curriculum means to one of his students. The case study concludes that teachers need some knowledge of the history of students’ specific cultural groups in order to teach science well to all students. This case study was one of seven produced by the Fresno Science Education Equity Teacher Research Project. It uses a special format, a “sonata-form case study,” to highlight tensions between specific curricular imperatives and meeting broader student needs. The study is based on real experiences, and employs composite characters and fictionalized dialogue to make its conceptual point. A theoretical preface explaining the methods of research and the modes of representation used in the Fresno Project is included.

 

Clandinin, D. J., & Huber, J. (2002). "Dialogue: Narrative Inquiry: Toward Understanding Life's Artistry." Curriculum Inquiry 32(2): 161 - 169.

As we entered into Eisner and Powell's exploration of the artistic and aesthetic qualities of the work of researchers, we were drawn toward deeper questions of our own lives as narrative inquirers. In particular, we thought about a metaphorical three-dimensional narrative inquiry space as a way to explore the aesthetic and artistic dimensions of experience. By returning to field texts of our recent work alongside Darlene, a mother we met on the landscape of an inner-city school context, we show how she was engaged in an artistic and aesthetic composition of her life experience. Our account also reveals how, as narrative inquirers engaged with Darlene, we, too, were composing artistic and aesthetic stories to live by

 

Clark-Keefe, K. A Fine Line: Integrating Art and Fieldwork in the Study of Self-Conceptualization and Educational Experiences. Alberta Journal of Educational Research. 48, No. 3, CD-ROM.

 

Clawson , H., & Coolbaugh, K. (2001). The YouthARTS Development Project. O. o. J. J. a. D. Prevention : 18.

The arts enrich the culture and individual lives immeasurably, but what impact do arts-based programs have in preventing juvenile delinquency? To address this question, the YouthARTS Development Project, with the technical assistance of the Office of Juvenile Justice and Delinquency Prevention (OJJDP), brought together Federal agencies, national art organizations, and a consortium of local arts a.

 

Clough, P. (2000). "Comments on setting criteria for experimental writing." Qualitative Inquiry 6(2): 278 - 291.

In response to a call for discussion of criteria for judging ethnographic experimental writing, the author felt it necessary to address the relationship of politics and experimental writing. Given that recent experimental writing was initiated with the critique of traditional ethnographic writing in sociology and anthropology that w as part of the larger criticism of the authority of Western discourse, she wanted to speculate on the future to which experimental writing points and for which it prepares ethnographers to think politically. For her, this is the primary value of experimental writing: It links ethnographers to the future of politics and to the politics of the future. It is in terms of this two-way link that experimental writing might be judged.

Collins, R. (1994). Kaleidoscope: Profile of an Arts-based Early Childhood Program. Philadelphia , PA , Settlement Music School : 110.

Kaleidoscope is an innovative approach to an arts-based early childhood program, combining visual arts, music, dance and language arts. The program's principal goal is to promote the learning and development of low-income, inner-city children who are attending preschool and kindergarten. Kaleidoscope's three objectives are: (1) to provide children and their families with quality early childhoode.

 

Conle, C. (2003). "An anatomy of narrative curricula." Educational Researcher 32(3): 3-15.

As curricular qualities of various narrative practices become more diverse and widely established, a clearer understanding of their particular nature and function should accompany their use. This article reviews rather far-flung practices in relation to the particular narrative functions on which they rely. The author uses Schwab’s commonplaces as common denominators that cut across practices to determine different locations for curricular gain. Then, without wanting to tear apart what is essentially a holistic phenomenon, the author looks at narrative curricula through three different lenses, named by Genette (1980) “narrative,” “story,” and “narrating.” These facets of narrative are highlighted in different ways in various curricula, prompting different forms of narrative engagement. They help locate and distinguish different outcomes.

 

Conrad, D. (2002). "Drama as arts-based pedagogy and research: media advertising and inner-city youth." Alberta Journal of Educational Research 48(3): n/a.

The creation of dramatic text involves a process of interpretation and representation, but the potential for drama as a research medium goes beyond this. Some drama practitioners (Bolton, 1996; Norris, 2000) see the act of doing drama (role play, improvisation, collective creation) as a research act. Bolton explores the "possibility of seeing drama itself as an investigatory tool" (p. 187), and explores the notion that "process drama, almost by definition [is] a form of research" (p. 191). He describes the use of role-play as part of orthodox research design to reproduce and examine the conditions of real-life situations. He describes the use of process drama by teachers or researchers in which the "reflection-in-action" involved was akin to the kind of reflection in some action research designs. He cites studies that saw students doing research through drama by investigating aspects of the real world. Although Bolton is not convinced that every instance of process drama can qualify as research, he does admit the possibility if students are framed in the role of researchers.

 

Conrad, D. (2004). Exploring Risky Youth Experiences: Popular Theatre as a Participatory, Performative Research Method. International Journal of Qualitative Methods, University of Alberta . 3: 1.

This article discusses a Popular Theatre project with a group of high school drama students in a rural Alberta community. As a research method, Popular Theatre draws on traditions in participatory research and performance ethnography. In our project, entitled "Life in the Sticks," based on students' initial claims that their issues were determined by their rural environment, Popular Theatre was a way to collectively draw out, represent and question their experiences through theatrical means. Our process helped students re-examine their beliefs and helped me reframe the notion "at-risk" to include the perceptions of youth. Popular Theatre is shown to be an effective pedagogical tool and research method in the new insights and critical understandings it yielded.

 

Curtis, D. (2003). "The arts and restoration: A fertile partnership?" Ecological Management & Restoration 4(3): 163 - 169.

The creative urge is fundamental to the human condition and provides a conspicuous common ground between members of Landcare and the arts, prompting us to ask whether artists can become more involved in chaning community behaviour toward the environment.

 

Dade-Robertson, M. (2004). Digital mnemonics. Digital Creativity, Taylor & Francis Ltd. 15: 57.

Architectural design involves a process of iteration and testing which is closely akin to practice-based research and lends itself naturally to this approach in the University environment. Academic research into the relationship between mnemonics and spatial theory reveals the significant part architecture can play in developing the design of memorable virtual environments. The art of memory, which has largely been forgotten in the 21st century, may provide a theoretical context for this research. As we increasingly rely on mechanised forms of memory storage and recall on computer screens, these synthetic memories become ever more complex, and the creation of new methods of representing them becomes pressing. To this end traditional 'Memory Arts', based in physical architecture and spatial orientation, are a fruitful source of inspiration. The concept of 'architectural mnemonics', which grows from the memory arts, requires a multidisciplinary approach for it to be fully understood. The virtual environments produced using such a theory also require input from different disciplines to allow them to be fully analysed and tested. The interdisciplinary nature of the work reflects the many sided approaches of architecture, which always include both scientific and artistic elements, Through carrying out such practice-based experimental work, both the practice and theory of architecture are advanced and extended.

 

Davis , D., & Butler-Kisber, L. (1999). Arts-based representation in qualitative research: Collage as a contextualizing analytic strategy. AERA. Montreal , AERA.

"Memoing," the "theorizing write-up of ideas about codes and their relationships as they strike.the analyst's momentary ideation based on data.with conceptual elaboration" (B. Glaser, 1978), is an important analytic tool used by qualitative researchers at all stages of the research process. The art form of collage is described as a contextualizing strategy in qualitative research that emulate.

 

Daykin, N. (2004). The Role of Music in an Arts-based Qualitative Inquiry. International Journal of Qualitative Methods, University of Alberta . 3: 1.

In this article, the author discusses the expressive potential of music and how it can be applied in an arts-based qualitative research project. The limitation of music, and other forms of non-verbal forms of artistic expression, are discussed. The conclusion is that music can serve well as a supplementary form of expression in arts-based research, but, like many texts, even those whose meaningfulness is taken for granted, cannot stand alone.

 

de Cosson, A. The Hermeneutic Dialogic: Finding Patterns Amid the Aporia of the Artist/Researcher/Teacher. Alberta Journal of Educational Research. 48, No. 3, CD-ROM.

 

Denzin, N. K. (2000). "Aesthetics and the Practices of Qualitative Inquiry." Qualitative Inquiry 6(2): 253 - 265.

This article proposes that qualitative, interpretive writing be assessed in terms of its ability to advance the promises of radical democractic racial justice embodied in the post-civil rights, Chicana/Chicano and Black Arts Aesthetic movements. A set of interpretive practices connected to an aesthetics of color is presented.

 

Diamond, C. T. P. (1998). `Brethren [and sisters] in bonds': Arts-based release from marginalization. Curriculum Inquiry, Blackwell Publishing Limited. 28: 387.

Editorial. Points out the marginalization of various groups such as the Afro-Americans, European Jews and Holocaust survivors in the United States . Use of arts-based inquiry as a way of exploring the experience of living out of these marginalizations and undermining them through artistic representation.

 

Diamond, C. T. P. v. H.-F., C. (2002). "Editorial: Searching ways: Art Proustifies Science." Curriculum Inquiry 32(2): 121 - 130.

Dixson, A. D., T. K. Chapman, et al. (2005). "Research as an Aesthetic Process: Extending the Portraiture Methodology." Qualitative Inquiry 11(1): 16-26.

Dunlop, R. (2002). "A story of her own: female bildungsroman as arts-based educational research [ Boundary Bay : a novel as research in education]." Alberta Journal of Educational Research 48(3): n/a.

Eisner, E. and K. Powell (2002). Special Series on Arts-Based Educational Research. Curriculum Inquiry, Blackwell Publishing Limited. 32: 131.

Examines the study of artistry in social sciences. Concepts of art and science; Distinctions between art and science; Role of artistry and aesthetic experience in social science.

 

Eisner, E. W. (1998). Does Experience in the Arts Boost Academic Achievement? Journal of Art & Design Education, Blackwell Publishing Limited. 17.

Examines the research basis for claims about the effects of art experience on academic development. Effects of art in raising academic achievement in reading and writing; Arts based, arts related and ancillary outcomes of arts education; Awareness of aesthetic qualities in art and life.

 

Elliot, D., C. Macdonald, et al. (2005). "Artist Education Project Proposal [ Senator Patrick Burns Junior High School ]." A Fine FACTA 6(2): 13.

Ellis, C. (2000). "Creating Criteria: An Ethnographic Short Story." Qualitative Inquiry 6(2): 273 - 277.

In this work, the author introspects about the steps she takes when evaluating narrative ethnographies. Her story shows how she thinks about and reacts to alternative genres of writing. Optimally, she tries to feel and think with the story, moving back and forth as the two processes merge. She tries to immerse herself in the flow of the story, until she is unable to stop thinking about or feeling the experience. Along the way, she asks questions about what she has learned from the story, and she evaluates the writer's literary strategies, ethical concerns, and the degree to which the goals of the work have been achieved. When she reviews, she attempts to offer helpful feedback yet protect the writer's sense of self.

 

Emme, M. J., C. Bagley, et al. (2004). "Dancing the data." Alberta Journal of Educational Research 50(1): 118.

Finley, S. (2000). ""Dream Child": The Role of Poetic Dialogue in Homeless Research." Qualitative Inquiry 6(3): 432-434.

This article represents the usefulness of artistic approaches to social science research. Following a brief introduction to the research context-an inquiry into the life experiences of homeless youth travelers-the author presents a poem that interweaves snippets of conversations audiotaped during the inquiry with lines of poetry that she has written in her reflections about the research process and with poetry written by a 17-year-old female traveler. She presents the poem as an example of the way that poetry has been used throughout this research project both to record research findings and to generate further conversations with research participants.

 

Finley, S. (2003). "Arts-Based Inquiry in QI: Seven Years From Crisis to Guerrilla Warfare." Qualitative Inquiry 9(2): 281-296.

This commentary reconsiders emerging standards for evaluation of the field of practice of qualitative inquiry and arts-based approaches. Specifically, this is a review of the dialogue around issues of standards that has continued through the first seven volumes of Qualitative Inquiry (QI), from March 1995 through June 2001, and is inclusive of this special issue of QI devoted to arts-based inquiry. What has emerged in QI is an action-oriented worldview among qualitative researchers who value inquiry for its usefulness within the community where it originates. In this way, QI has contributed greatly to the construction of still emerging practices within a newly formed tradition of participatory, critical action research based on an ethics of human relationships. Arts-based inquiry is one aspect of this emerging tradition.

 

Finley, S. and M. Finley (1999). "Sp'ange: A Research Story." Qualitative Inquiry 5(3): 313-337.

The authors use a storied representation to highlight the aesthetic and feeling qualities of their research about homeless youth. We also include a description of our mother/son research collaboration and the impact of that relationship on the research process. Names of youth are pseudonyms or street names, and all dialogues and reflections with participants were taken from audiotaped conversations. The following several themes are developed in this research story: the formation by homeless youth of family-like structures, the use of cocaine and heroin, early use of alcohol and primacy of alcohol as the drug of choice, and attitudes toward government, economic structures, and work. The problem of youth homelessness reflects the shortcomings of national youth policy and the failures of practices that concern youth. It is our purpose to provide an opportunity for homeless youth to tell their stories and to contribute their own voices to conversations among educators and policy makers who make decisions that influence the life histories of youth, homeless or otherwise.

 

Fischman, G. (2001). "Reflections about images, visual culture and educational research." Educational Researcher 30(8): 28 - 33.

From 1990 to 2000, the field of educational research saw the emergence of several works that critically inquired into aspects of, and topics related to, visual culture and education. Analyses of film, television, advertising, and popular culture in the works of Karen Anijar (2000), Mary Dalton (1999), Elizabeth Ellsworth (1997), Henry Giroux (1994, 2000), bell hooks (1995), Gene Maeroff (1998), Antonio Novoa (2000), and Joseph Tobin (2000) brought attention to the significant impact of visual culture on schools, students, and teachers. In addition, researchers produced compelling projects in which the phenomena associated with visual culture were not only analyzed but also incorporated into academic production, as in the work of Eric Margolis (2000), who explored the use of photographs in educational research; Ian Grosvenor et al. (2000), who reflected on the use of photographic evidence in historical research; Robert Coles and Nicholas Nixon (1998), who produced a collaborative photographic and textual exploration of life in schools; Diamond and Mullen (1999), who explored the possibilities of arts-based research; and Sandra Weber and Claudia Mitchell (Weber & Mitchell, 1995; Mitchell & Weber, 1998), who analyzed teachers’ and students’ drawings in relation to the influences of popular culture on teachers’ identities.

 

Fox, G. T. and J. Geichman (2001). Creating Research Questions from Strategies and Perspectives of Contemporary Art. Curriculum Inquiry, Blackwell Publishing Limited. 31: 33.

This essay considers how strategies and perspectives from contemporary art can suggest new questions for educational research. Although arts-based research has become more prominent lately, the concern of this paper is that the arts have become used primarily as decorative features to educational research (to further illuminate, depict, and explain the ambiguities and complexities of educational practices, see Donmoyer 1997), rather than deeply moving or disorientating perspectives on education. Another stimulant for looking into contemporary art is the concern that education must focus more on the edges of what is understood, rather than on the centers (see, for example, Fox 1995). The essay uses examples to demonstrate how a number of themes from contemporary art can be interpreted to redirect our curiosity about educational practices, policies, and theories. The paper concludes that further consideration of contemporary art can move researchers to ask more varied questions, especially about the wisdom of our progressive, critical, or humanistic views of students and learning that we have built over this century.

 

Fysh, S. and N. Witte (2002). "Mentoring through arts integration: an FAC initiative." A Fine FACTA 4(2): n/a.

After developing the model, the Council approached three mentor teachers at three different Edmonton schools. [Sherryl Clelland] from Victoria School of Performing and Visual Arts agreed to pilot the mentorship model with her Grade 4 teaching partner, [Kerri Neitsch]. Sherryl and Kerri successfully used the mentorship model on several Grade 4 units during the 2000/01 school year. Although Kerri moved to another Edmonton elementary school the following year, the two continued to discuss and share units. As well, a third teacher, [Shannon Helgren], became the new learning teacher at Victoria School . Kerri is now a mentor teacher at her new school and Sherryl and Shannon continue mentoring and learning together at Victoria School .

 

Gabel, S. (2002). "Article: Some conceptual problems with critical pedagogy." Curriculum Inquiry 32(2): 177 - 201.

One of the scholarly debates of the last decade has been about the discourses of pedagogy and pedagogy's function in society. As a result, pedagogy has been critically theorized, conceptualized, and analyzed, resulting in a body of work that adheres to the importance of understanding the human subject in pedagogy. Liberatory pedagogies, particularly critical pedagogies, are concerned with students who traditionally have been marginalized in school. Using a blend of autobiography and criticism, this article examines the case of an often marginalized group, disabled students, and asks whether they are present in the texts of critical pedagogies. The article concludes with a discussion of the tensions between inclusive theory and inclusive practice and, finally, suggests the constraints under which inclusive practices operate.

 

Ganesh, T. G. (2002). "Held Hostage by High-Stakes Tests: Drawing as Symbolic Resistance." Teacher Education Quarterly 29(4): 69-72.

The writer interprets one female teacher's self-portrait that depicts the teacher's feelings in the context of a state-mandated high-stakes test in Arizona . The writer says that the drawing depicts the teacher as a hostage and as powerless, estranged, and isolated and yet shows the teacher to be creative, rebellious, and iconoclastic.

 

Gannon, S. (2001). "(Re)presenting the Collective Girl: A Poetic Approach to a Methodological Dilemma." Qualitative Inquiry 7(6): 787 -.

Examines the characteristics of collective memory work and collective biography research. Argument on importance of imagination and creativity as elements of effective response; Identification of the methodological dillemas of the research; Effects of the acute awareness of the ethical dillemas entailed in collective memory research and creative imagination.

 

Garoian, C. R. (2002). "Performing a Pedagogy of Endurance." Teacher Education Quarterly 29(4): 161-73.

Performance art pedagogy holds promise for teacher education. This pedagogy represents a creative and intellectual space that allows students to learn to examine, expose, and critique dominant and oppressive cultural paradigms from their diverse perspectives in life. In teacher education, performance art pedagogy can allow preservice teachers to learn how to become public intellectuals and critical agents and, relying on the endurance and persistence of their heterogeneous cultural identities, enables them to challenge the predetermined assumptions of traditional schooling. Performances by the Taiwanese-American artist Tehching Hsieh, the Native American artist James Luna, and a Pennsylvania State University student that illustrate the value of performative strategies in teacher education courses are discussed.

 

Gibb, S. (2004). "Imagination, Creativity, and HRD: An Aesthetic Perspective." Human Resource Development Review 3(1): 53 - 75.

Human resource development is conceptualized here in terms of levels of action: representations, experience, relations, and communities. Functionality is taken as a hallmark of good human resource development in these. Yet reflecting on what works, and on innovations in human resource development, factors other than those associated with functionality seem to matter: imagination and creativity. To understand and explore these, an aesthetic perspective on human resource development is proposed. How the aesthetic exists and lives in human resource development is described here as a quadrant, with imagination and creativity existing in the form of imported metaphors, design thinking, development epistemology, and the aesthetics of organization. The implications of this combining of an understanding of the functional and the aesthetic for theorizing and practicing human resource development are outlined. PUBLICATION ABSTRACT

 

Goldstein, T. (2001). " Hong Kong , Canada : Playwriting as Critical Ethnography." Qualitative Inquiry 7(3): 279-303.

For the past 4 years, the author has been conducting critical ethnographic fieldwork in a Canadian multilingual high school and thinking about the ways she might write up her findings. In an attempt to represent the experiences of those who participated in her study in a way that does not lead to the reproduction of the policies and practices of colonialism and racism she means to challenge, the author has experimented with the genre of playwriting. The piece contains an edited version of the author's Hong Kong , Canada , a fictional but ethnographically informed play about some of the linguistic and social dilemmas facing immigrant youth and their Canadian-born classmates. A short explanation of why and how the script came to be written follows the play. A brief discussion of audience responses to the play concludes the article.

 

Gouzouasis, P. (2001). "The role of the arts in new media and Canadian education for the 21st century [FAME: Fine Arts & new Media in Education]." Education Canada 41(2): 20.

Gouzouasis, P. and K. V. Lee (2002). "Do You Hear What I Hear? Musicians Composing the Truth." Teacher Education Quarterly 29(4): 125-41.

The writers, a doctoral student and her graduate supervisor, engage in a dialogue about teacher education and music education. With a focus on the nature of truth, the writers' dialogue takes the form of a musical fugue and relies on musical terms such as prelude, exposition, subject, answer, episodes, stretto, retrograde, and final portion. The writers explore narrative inquiry and the way in which it affects thoughts and feelings; probe, challenge, and construct the words of one another and play with words; and cross voices to sustain and develop their relationship. They argue for the multivoiced text as a way of focusing attention on the process of examining the meaning of experience, gathering different aspects and interpretations of events, and exploring the links between them. They say that the dialogue enhances their understanding of the valuable role that musicians' voices can play in arts-based research.

 

Grauer, K., Irwin, R., de Cosson, A., Wilson, S. (2001). "Images for understanding: Snapshots of learning through the arts." International Journal of Education & the Arts 2(9): 1-6.

Graveline, F. J. (2002). "Teaching tradition teaches us." Canadian Journal of Native Education 26(1): 11.

Teaching of Indigenous traditions in the context of an Aboriginal counselling program located in a Eurocentric university context can be viewed as both exemplary and contradictory. This article documents how we at the First Nations and Aboriginal Degree Program (FNAC) are challenged to excel at revitalizing traditional healing and teaching strategies while acknowledging the domination of Western theories and practices. Contradictions that have arisen in our daily lived experience of bringing tradition into a modern context are posed as lessons to learn from. Resolving these controversies on an ongoing basis evidences the struggles and successes of FNAC as a model of exemplary Indigenous education.

 

Gray, R. E. (2003). "Performing on and off the Stage: The Place(s) of Performance in Arts-Based Approaches to Qualitative Inquiry." Qualitative Inquiry 9(2): 254-267.

This article is about performance, especially as it is revealed through arts-based approaches to qualitative inquiry. Three layers of performance are highlighted. First, there is the layer of the artistic performance itself--with a focus on the author's work with research-based drama. Then there is the layer of performance having to do with promoting the original artistic event. To best reveal the dangerous immediacy of this type of performance, the author includes in the body of the text a transcript from an interview with him conducted on national radio, about one of his dramas. Finally, there is the performance in everyday life of the arts-engaged researcher, revealed through descriptions of his responses prior to, during, and following the radio interview.

 

Grumet, M. (1987). "The politics of personal knowledge." Curriculum Inquiry 17(3).

Guevara, J. R. (2002). More than a 'Bag of Tricks:' Using Creative Methodologies in Environmental Adult and Community Education. Adult Learning, American Association for Adult & Continuing Education. 13: 24 .

Discusses the use of creative and participatory activities in an environmental adult and community education program in Sydney , New South Wales . Features of a creative activity adapted for the program; Advantages of using arts-based activities in adult education; Background on the different modes of learning.

 

Gurin, R. (1998). Arts Education & Arts-Based Economic Development: Sound Investments for Business & Community. Journal of Art & Design Education, Blackwell Publishing Limited. 17.

Presents the speech by Rich Gurin about arts education and arts-based economic development. Impact of the arts on local communities and country; Effect of the arts on the knowledge of materials and processes in the workplace; Annual contribution of non-profit arts organizations to the United States economy.

 

Healy, N. (2005). "Poetry in the boardroom: Thinking beyond the facts." The Journal of Business Strategy 26(1): 34 - 40.

A roundtable discussion among Clare Morgan ( Oxford University ), Kirsten Lange (Boston Consulting Group) and Ted Buswick (Boston Consulting Group) on poetry and business strategy, two subjects that don't ordinarily go together, is presented. Morgan recently conducted a workshop with a high tech company in England that included poetry as part of business strategy. The CEO wanted to spend time at a strategy retreat developing the thinking of his management team as well as addressing the concrete issues that faced them. Morgan kept him informed about the work within the Boston Consulting Group Strategy Institute on poetry and thinking, and - being a poetry reader himself - he was eager to see how exposure to some poetry would affect the way his team approached certain key issues. According to Buswick, reading poetry opens up new thinking spaces, and accessing those spaces requires the development of a new set of thinking skills.

 

Herman, L. (2005). "Researching the Images of Evil Events: An Arts-Based Methodology in Liminal Space." Qualitative Inquiry 11(3): 468-480.

This article explores an arts-based methodology for nonparticipant researchers to engage potentially overwhelming images of evil events. Nonparticipants in evil events such as genocide must access and stay engaged with images of these events to take informed action in the world. Linear discourse and historical facts do not adequately convey this disturbing material. Images are accessible to researchers in liminal space: the space between historical facts and our imagination. Through artfully collecting this data in liminal space, researchers maintain an active presence in the inquiry. The images themselves are researchers' coparticipants, bringing researchers important information. Researchers can, through their own art practice, then shape the encounter into a creative act for their communities. An arts-based methodology in liminal space, in addition to providing a containing methodology for the difficult experience of researchers into evil events, offers an epistemology for creating new knowledge.

 

Hooper, M.-L. (2002). The arts and content literacy in Italian schools: Alternate methodology for inclusion classroom. O. o. E. R. a. Improvement : 32.

A descriptive study investigated the use of an arts-based core curriculum as an alternate teaching model in all content areas with populations diverse in ability, disability and culture. Quantitative demographics and 52.6 hours of audio, video, still photo, and running record data were completed in 44 classrooms (n=545 students) from preschool through middle grades in an Italian school system. Th.

 

Irwin, R. L. (2003). "Toward an aesthetic of unfolding in/sights through curriculum." Journal of the Canadian Association for Curriculum Studies 1(2): 63 -78.

Johnson Jr., B. L. (2004). "A Sound Education for All: Multicultural Issues in Music Education." Educational Policy 18(1): 116-141.

Establishing the legitimacy of the arts within the larger school curriculum is a defining issue in arts education. Within the context of this perennial challenge, this article examines two multicultural issues in music education: equal music education opportunity and the idiomatic hegemony of the Western classical tradition. Discussions of the essence of music, the current state of music education practice, competing demands within the field and of the educational benefits associated with the study of music provide the context for this examination. No student, it is argued, should be denied access to the arts based on the property wealth of his or her district, household, or cultural background. If musk is to remain a viable curricular option, music educators must adapt both curricula and methods to the cultural backgrounds and needs of a changing student population.

 

Karkou, V. and J. Glasman (2004). Arts, education and society: the role of the arts in promoting the emotional wellbeing and social inclusion of young people. Support for Learning, Blackwell Publishing Limited. 19: 57 .

In our second article, Vassiliki Karkou and Judy Glasman provide an illuminating overview of current debates about the place of the arts within education. They explore the emotional and social role of the arts in school, illustrating their discussion with insights gained from the Labyrinth Project, an arts-based prevention programme developed in schools in Hertfordshire and North London .

 

Lazarus, P. A. and F. M. Rosslyn (2003). The Arts in Medicine: setting up and evaluating a new special study module at Leicester Warwick Medical School . Medical Education, Blackwell Publishing Limited. 37: 553.

Context A special study module (SSM) option was introduced for medical students at Leicester Warwick Medical School in January 2000. Its aim was to enhance students' knowledge and understanding of people's experiences and emotions in relation to health and sickness through study of the arts. The module was set up and run through collaboration between the medical school and the University of Leicester 's Department of English. This paper describes the context of SSMs in the arts and their relevance to medicine, and examines student perceptions of the benefits gained from this particular course. Method Students were exposed to a core series of arts-based seminars, and were given time to research a chosen study topic looking at an artist or art form in relation to health and sickness issue(s). They were assessed on their written submissions on these study topics according to the module objectives. Students were encouraged to develop a reflective style of learning by keeping learning journals. Conclusions Evaluation demonstrated that the students considered that their professional development had been enhanced by taking time to study the arts. Students also felt that they would continue to use the arts to this end after the module had finished. Summative assessment showed that the objectives were achievable by the great majority of students.

 

Lee, K. V. (2003). "Maria's Medley [Excerpt from Riffs of Change]." English Quarterly 35(2): n/a.

My Dad loved to sing. He didn't know he loved it. He tapped his fingers peacefully, rhythmically, while waiting for the espresso to bubble, or whistled while making breakfast. When I look back on my relationship with music, there he is with songs on long car trips. "You and me and the rain on the roof." Songs for bedtime like "the cat came back, the very next day." I loved to sing too, though I didn't know it when young. It was a part of my life like eating, breathing, and sleeping. We sang songs by Tom Lehr, Jacques Brelle, Paul Simon, or Tony Bird. From Dad, I learned about humor in music and different kinds of music by Lori Anderson, Trio, Zap Mama, Gottschalk, and Michelle Shocked. After a pasta dinner, we did the dishes while pulling apart a tune and applying it to my older sister, younger half-brother and sister, stepmom, and we made fun of each other with the thrust and parry of reworked lyrics. It was a lovely, wacky zoo. My Dad prodded me along a musical path in ways I didn't recognize at first. The summer before grade 9, he asked, "when will you join a band?" The thought had never occurred to me. But after that, I joined a rock band and loved it. "Have you thought of writing your own songs?" he once asked and started that flame too.

 

Lee, K. V. (2005). "Joseph Santini: Divided I Stand." Qualitative Inquiry 11(4): 650-660.

This short story chronicles a professional jazz musician, Joseph Santini, in conflict about whether he should accept a full-time teaching position as a high school music educator. This story focuses, interprets, clarifies, and communicates Joseph's conflict. It also demonstrates the use of stories for culturally relevant research. Joseph's experience transcends impressions of musicians and teachers prevalent in the dominant cultural milieu. The story offers a deeper insight into Joseph's life as he explores teacher education and is guided by his artistic and performative experience. The coda at the end briefly discusses the use of creative nonfiction in research and how it can be a powerful tool to help musicians resolve their conflicts.

Leggo, C. (2004). "The Curriculum of Joy: Six Poetic Ruminations." Journal of the Canadian Association for Curriculum Studies 2(2): 27 - 42.

Leggo, C. (2004). "Living Poetry: Five Ruminations." Language and Literacy 6(2).

Linds, W., & Lee, Karen V. (2000). Reflections in a maze of mirrors: Exploring our emerging identities as Arts Educators. AERA. New Orleans , AERA.

In this paper, two arts education instructors engage in a dialogue about their emerging identities to further knowledge for pre-service educators in teacher education programs. Thus, the paper provides a forum about the conduct and theory of arts-based research in education. It also provides examples and critiques of theories of practice and knowing in arts education. In the first part of the pap.

 

Luce-Kapler, R. (2003). "Orality and the poetics of curriculum." Journal of the Canadian Association for Curriculum Studies 1(2): 79 - 93.

Martens, S. (2004). "The power of learning in, through and about the arts." A Fine FACTA 6(1): 30.

Martens, S. (2005). "Learning Through the Arts: The Journey of West Dover Elementary School ." A Fine FACTA 6(2): 24.

McDermott, M. (2002). "Collaging Pre-service Teacher Identity." Teacher Education Quarterly 29(4): 53-68.

The writer discusses the collaging of preservice teacher identity. She examines the links between collage art and the values of critical aesthetics in educational research and suggests that collage promotes the aims of critical aesthetics and that the collage elements of emergence, relationality, and transformation are central to the formation of dangerous knowledge, which allows for alternative ways of thinking and knowing. She then outlines the arts-informed premises of a study that examined the production of dangerous knowledge; draws from this study to show how emergence, relationality, and transformation affect the identity and pedagogy of four preservice educators; and considers the biases and visions revealed in and through arts-informed modes of expression. The writer argues that the creation of collages is beneficial in teacher education courses where students examine the links between personal experiences, self, and pedagogy.

 

Meecham, P. (1999). "Of Webs and Nets and Lily Ponds." Journal of Art & Design Education 18(1).

Focuses on the major impact of technology on the visual arts. Loss of confidence in the English Art Curriculum; Art education's preference for modernistic concepts based on the notions of child development and the purity of individual expressions; Individualism in arts based on the postmodern philosophy.

 

Mello, R. (2001). Building Bridges: How Storytelling Influences Teacher/Student Relationships. Storytelling in the Americas Conference . St. Catherine's , Ontario , Brock University .

This paper examines the impact of storytelling in educational venues. Specifically, the paper compares data and findings from four ethnographic, qualitative, arts-based studies that examined either students' or teachers' reactions to oral narration in classroom settings. It suggests that, through stories and storytelling, people are exposed to long-standing archetypal models that engage the imagi.

 

Mirochnik, E. (2002). "The Centerless Curriculum." Teacher Education Quarterly 29(4): 73-8.

The writer presents a Maria/Madonna collage that allows for an exploration of the notion of a centerless curriculum. He says that the collage of Maria Montessori and the singer Madonna is an attempt to abandon the idea that teachers need to develop both a curriculum center and an identity center, to challenge the idea that the centerpoint of classroom practice and the knowledge driving the center are predetermined by the scientific yearning for progress or by higher powers, and to move away from the distinction between knowledge as pure disembodied truth and knowledge as emergent within his embodied experience of feeling and being in his classroom world. He considers his choice of Montessori and Madonna and says that he would rather engage in the kind of curriculum making as self-making that he has learned from Madonna than follow Montessori in thinking that what he does and who he is in the classroom serves a higher power or a higher cause.

 

Moffett, D. (1998). Evaluating supplemental program implementation through measurements of students' critical thinking skills and writing ability. Mid-Western Educational Research Association.

An arts-based supplemental education program was evaluated qualitatively and quantitatively. It was hypothesized that this classroom program would cause gains in critical thinking skills, as measured through writing ability. The program provided 87 teachers in grades 3 through 12 with a classroom set of "Arts Indiana" magazine and an accompanying study guide. The qualitative study of teacher use.

 

Mullen, C. A. (2002). "Building an Arts-Based Curriculum: A Lesson from the Bowerbird." Teacher Education Quarterly 29(4): 3-15.

The bowerbird can act as a model for the creation of an arts-based curriculum. Passionately engaged in the act of building a bower from food and objects gathered from the forest floor, the bowerbird turns survival into a platform for living. Although the accountability climate in education prevents the creation of sacred places or bowers that empower teachers and learners to develop artistic and spiritual approaches to the curriculum, constructivist bowers prevail where reflective and adventurous practitioners allow learning, development, and innovation. The other articles in this issue are discussed.

 

Mullen, C. A. (2003). "Guest Editor's Introduction: "A Self-Fashioned Gallery of Aesthetic Practice"." Qualitative Inquiry 9(2): 165-181.

Mullen, C. A. and M. B. Cancienne (2003). Resume in Motion: sensory self-awareness through movement. Sex Education, Carfax Publishing Company. 3: 157.

Can middle school serve as a site for educating students on how their bodies are essential for learning and embodying knowledge differently? This experimental work concerns the new learning that a movement intervention introduced in the context of a career unit of a language arts curriculum. The experiences and reflections of eighth graders from an American school are presented creatively as scripts and interpreted for their learning value. What young students learned about feeling, power, communication, and bodily learning is looked at from critical, feminist, and arts-based perspectives. Topics covered by this emergent analysis focus on the reform of sex education and career education, key concepts of embodiment, description of a movement curriculum, presentation of thematic results, and, finally, the benefits and challenges of body-based interventions more generally.

 

Murfee, E. (1996). Eloquent evidence: Arts at the core of learning. N. E. f. t. Arts : 18.

This guide reflects on the relationships among learning, knowing, and the arts. The booklet examines the research related to cognitive learning and the arts, while making the case that the arts can help student learning in all aspects of life. Student engagement and persistence improve with an arts-based curriculum and high risk students are helped through the arts. The arts foster understanding.

 

Neilsen, L. (2002). "Learning from the liminal: fiction as knowledge [Scholartistry]." Alberta Journal of Educational Research 48(3): n/a.

All right, you've been very patient. Here's a thesis statement, or at least a place to land, for now. The shift in educational inquiry marked by alternative forms of representation, including the literary arts is a shift as much ontological as it is epistemological. Fiction is knowledge. Poetry is knowledge. The arts are ways of knowing. The lingering belief that knowledge is and must be proof, proposition, muscle for prediction and control is bound inextricably with our Western belief in the individual as a separate, autonomous being. It is bound inextricably with our need to tame the earth and its creatures, and it is bound inextricably with our fear of the unknown. We have wanted to accumulate knowledge and to use it as foundation, as fact, as colonialist, neocolonialist, and imperialist commodity, as clout, and as cultural capital. But we are fooling ourselves if we think we can trust knowledge more than we trust fiction to guide us, to teach us. Knowledge, like fiction itself, is liminal space. It never arrives. It is always on the brink. It is always a waiting space, a green room, Derrida's difference, a journey. What we know in this discipline is that knowledge, like fiction, is contextual, read differently by different people. Knowledge reads, tastes, sounds, dances, informs, speaks in one way from my ideological perspective, another way from yours. Knowledge and knowing are saturated with political purpose, intent, cultural and social values, and vested interests. And knowledge, as we have continued to create it in our discipline, has no greater claim to authenticity, to fidelity, to truth, to validity, or reliability than do the fictions we read, write, or tell ourselves daily in print or in conversations to get on with our lives.

 

Norum, K. (2001). The story behind the story. AERA. Seattle , WA , AERA.

This paper discusses one author's decision to write a fictive story about her experiences as a beginning professor. It highlights her obligations to: a poster presentation on an arts-based approach to research; the audience who would attend the poster presentation and read the text; others who might appear in the text; and herself. Overall, her obligations shaped her decision. Obligations to the.

 

Olshansky, B. (1995). Picture this: an arts-based literacy program. Educational Leadership, Association for Supervision & Curriculum Development. 53: 44.

Discusses the importance of visual images in the writing process of school children. Redefining the stages of writing; Drafting in pictures and words; Image-making as an invitation to literacy learning.

 

Oreck, B. (2004). "THE ARTISTIC AND PROFESSIONAL DEVELOPMENT OF TEACHERS." Journal of Teacher Education 55(1): 55-69.

During the past decade, the arts have been increasingly included in professional development programs for general education teachers in the United States . Little is known, however, about teachers' attitudes toward the arts in education or the applications of arts processes in their teaching practice. In this mixed-methods study, data collected from 423 K-12 teachers indicated that teachers believe the arts are important in education, but use them rarely. They are hindered by a lack of professional development and intense pressure to teach the mandated curriculum. Awareness of student diversity and the need for improved motivation and enjoyment in learning were the most frequently cited motivations for using the arts. Teachers' self-efficacy and self-image relating to creativity and artistry influenced arts use more than any other personal characteristic. Surprisingly, neither prior arts instruction, current artistic practice, nor years of teaching experience were significant predictors of arts use in the classroom.

 

Ottey, S. D. (1996). "Critical pedagogical theory and the dance educator." Arts Education Policy Review 98(2): 31.

Discusses the process of examining, expanding, implementing, and assessing from one theoretical prospective, critical pedagogical theory (CPT) and place the theory within the framework of the National Standards for Dance Education in the United States . Theories affecting curricular development in dance education; Leadership of dance educators in arts-based public schools.

 

Oyler, C., T. Barone, et al. (2001). "Book Reviews." Curriculum Inquiry 31(1): 77.

Reviews several non-fiction books on education. 'A Visual Narrative Concerning Curriculum, Girls, Photography, etc.,' by Hedy Bach; ' The Realities of Teachers' Work: Never a Dull Moment,' by A. Acker; 'The Postmodern Educator: Arts-Based Inquiries and Teacher Development,' edited by C. T. Diamond and C. C. Mullen; 'For the Love of Teaching,' by B. Kilbourn.

Books reviewed: Hedy Bach, A Visual Narrative Concerning Curriculum, Girls, Photography, etc. S. Acker, The Realities of Teachers' Work: Never a Dull Moment James G. Ladwig, Academic Distinctions: Theory and Methodology in the Sociology of School Knowledge.

 

Paley, N. and A. M. Sullivan (2002). "Reverse Blackboard: Teaching and the Unseen." Teacher Education Quarterly 29(4): 101-17.

The writers address a project that considers the unseen side of teaching. One writer, a teacher education professor, discusses the project that he initiated and that has involved him in creating a drawing or "reverse blackboard" after each of his classes. He says that the goal of the project is to explore the apparently random dreams and memories, contradictions and fantasies, and fragments and anxieties that may exist on the other side of formal productions of classroom knowledge. He presents drawings that he created as part of the project when he was engaged in teaching an educational foundations course. The second writer responds creatively to the drawings through notes and a poem entitled "The Blackboard Poem." The first writer then considers these responses.

 

Peacock, J., & Holland , D. (1993). "The narrated self: Life stories in progress." Ethos 21(4): 367 - 383.

Review article

 

Peterson, T., & Williams, J. (2004). "Teaching Brief: So what does dance have to do with it? Using dance to teach students about leadership." Decision Sciences Journal of Innovative Education 2(2): 193 - 201.

Dance is a common metaphor in both the change and leadership literature. However, can dance, a movement art, actually be used to learn about leadership? The answer is yes and this exercise shows you how. Dance as an instructional strategy allows the instructor to tap the three components of the brain of cognitive, affective, and conative.

 

Petrash, J. (2002). Enlivening Education Through Art. Encounter, Psychology Press / Holistic Education Press. 15: 15 .

Suggests that education that is infused with the arts can renew student enthusiasm and help teachers avoid half-hearted, uninvolved instruction. Structure of arts-based lessons; Impact of arts-based instruction on cognitive growth; Proposed enlivened literacy project.

 

Piantanida, M., P. L. McMahon, et al. (2003). "On the Value of "Leaky Boundaries"--A Response to Patrick Slattery." Qualitative Inquiry 9(2): 198-201.

Piantanida, M., P. L. McMahon, et al. (2003). "Sculpting the Contours of Arts-Based Educational Research Within a Discourse Community." Qualitative Inquiry 9(2): 182-191.

Within the field of education, arts-based research is emerging as an inquiry tradition that reaches beyond disciplinary boundaries--creating innovative junctures among art, education, and research. Individuals with diverse talents and interests are being drawn to this newly coalescing discourse community and, in turn, are engendering rich and multifocal conversations not only about specific examples of arts-based research but also about the broader meanings of this approach to educational inquiry. These meanings, the authors contend, represent different positions within the field, and as the positions are articulated and debated, the contours of the discourse begin to take form. For this reason, the authors call on members of the arts-based discourse community to offer logics-of-justification for their work and thereby contribute to an evolving culture of inquiry grounded in aesthetic rather than scientific ways of knowing.

 

Poulsen, J. (2004). "Using drama concepts and methodology to teach student teachers." A Fine FACTA 6(1): 7.

Prescott, J. O. (1999). "A Day in the Life of the Rudolf Steiner School ." Instructor 109(4): 21-25.

Describes a typical day at the Rudolf Steiner School , an arts-based Waldorf school that encourages students to be anything they want to be and integrates the arts into everything. Natural developmental stages is an intrinsic part of the curriculum. Students remain with the same teacher for 8 years. A sidebar notes what opponents say about Waldorf education. (SM)

 

Reynolds, C. (2002). "Finding the music: Art in University Leadership." Curriculum Inquiry 32(2): 171 - 176.

This article draws on my research on women and leadership and my eight years of experience as a university administrator in considering the aesthetics of leadership practice in university settings. I use the form of a story of one of my days to respond to Eisner and Powell's article on the role artistry might play in the work of those who undertake research in the social sciences. When we view art as a particular quality possessed by human experience, as Dewey does inArt as Experience (1934/1980), we can elicit important insights from a wide array of concrete activities and not just from acknowledged great works of art. Using aesthetic forms, perceptions, and interpretations allows us to "recover the continuity of esthetic experience within normal processes of living [and working]" (p. 10)-even within what many consider the ordinary activities involved in enacting the role of university administrator. Even there intrinsic music can be found.

 

Riccio, L. (2001). SAIL: A School Where the Arts Connect with Real Learning. International Journal of Art & Design Education, Blackwell Publishing Limited. 20: 205.

Increasing numbers of educators and parents are recognizing that traditional educational models can be unsupportive and, at times, alienating to children, particularly those with special needs. SAIL, a public charter* school in Washington , DC , for children 5-12 years old (often labelled as having special needs), has used an innovative education model that infuses the arts in learning experiences. Providing a unique physical and social environment, an arts-based curriculum, and authentic assessment methods, SAIL is steadily achieving or exceeding its goals after two years of operation. This paper describes the work of SAIL. [sup *] A charter school is an autonomously governed public school designed to educate students in non-traditional ways and obligated by its charter to monitor and record its performance.

 

Riddell, A. (2001). Data Culture Generation: After Content, Process as Aesthetic. Leonardo, MIT Press. 34: 337.

The concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast music into data (a tangible entity, commodity or product) and thus made data a kind of cultural object itself incertain contexts (LPs, CDs, MP3 files). This condition suggests that a rethinking/transformation of contemporary audio arts based on process is taking place. Increasingly, sound may be only one of several simultaneous and expres sive components constituting a cultural experience. Here process can suggest and define a set of possibilities as an artistic statement irrespective of whether something or anything is manifest by any artist. With the environment saturated with music, the creative design of musical process es might become an art in itself.

 

Saarnivaara, M. (2003). "Art as Inquiry: The Autopsy of an [Art] Experience." Qualitative Inquiry 9(4): 580-602.

In this article, I explore transgressive experience by embracing my personal encounters with art and life. In accordance with a phenomenological approach, I emphasize immediate experience, description, and analysis of the world as a source of knowledge and understanding. From the perspective both of art education and research, I attempt to show the enslaving effect of conventions. Furthermore, I trace and lay bare the origins of my transgressive experience from a methodological viewpoint by describing and interpreting the moments and threads that link them with time, place, and situations, thus making transparent my actions as a researcher. I travel upstream, first discussing writing, then reflecting on the composition and materials of the case that I present, and concluding with the question of how my chosen approach serves the research task. I finish with a more general meditation in the form of a prose poem on introspective research.

 

Saldana, J. (2003). "Dramatizing Data: A Primer." Qualitative Inquiry 9(2): 218-236.

Due to the lack of "how-to" pieces in the methods literature, a theatre artist who later became an ethnographer offers this personal primer in playwriting with qualitative data. Ethnodramatic research representation should be chosen not for its novelty but for its appropriateness as a medium for telling a participant's story credibly, vividly, and persuasively. An overview of such fundamental playwriting principles as plotting, characterization, monologues, dialogue, and staging is given. The author also proposes that collaborative ventures between ethnographers and theatre practitioners should be initiated to heighten the artistic quality of ethnotheatrical presentations.

 

Sanders III, J. H. (1999). Dissertation as performance [Art Script] (Take Three). International Journal of Qualitative Studies in Education (QSE), Taylor & Francis Ltd. 12: 541.

This paper considers the absence of things queer within the texts of arts-based education theories and narratives of K-12 educators working within / against these reforms. Dancing through the dramatic shifts and movements of his performance-art dissertation,the author questions the limits of standard dissertation protocols. He argues that arts-based education schemes have not confronted or considered arts' complicity in social constructions of heteronormativity, and that the arts should be taught toward the ends of social justice and democracy .

 

Sava , I. and K. Nuutinen (2003). "At the Meeting Place of Word and Picture: Between Art and Inquiry." Qualitative Inquiry 9(4): 515-534.

This article focuses on dialogue between inquiry and art. What happens as words change into pictures? Do word and picture meet each other and, if they do, how? The article has a three-layered process of writing. First, there is the layer of word-picture-performance itself. In this performance, the researcher/writer (Inkeri Sava) produces the words, the artist/painter (Kari Nuutinen) draws the pictures for them. Second, there is the layer of a reflective textual dialogue. Finally, there is a general discussion, a meta-text--opening and closing curtain--about the word-picture-performation and reflections on it. As a whole, the article asks whether the meeting place of word and picture is a question of change, transformation, sliding, flowing, or streaming of word/text into a picture (or vice versa) in the associative, arts-based or performative dialogue between a writer and maker of pictures.

 

Scott-Hoy, K. (2003). "Form Carries Experience: A Story of the Art and Form of Knowledge." Qualitative Inquiry 9(2): 268-280.

Artistic evocative autoethnography, as the author conceives it, is both a product and a process. In this article, she hopes to provide insight into some of the issues and questions involved in the process of creating such a work, by inviting the reader to be privy to the process of creating the oil painting: Form carries experience and its accompanying story. As in any ethnographic research and writing, the author's personality; historical roots; spiritual, moral, and ethical beliefs; physical body; and senses are actively present in her painting and story--integral parts of her interaction with and interpretation of the world. Together they illuminate, represent, and critique the project of being a health worker/researcher in Vanuatu , a small island nation in the South-West Pacific.

 

Seifert, T. Work Avoidance as a Manifestation of Hostility, Helplessness, and Boredom. Alberta Journal of Educational Research. 48, No.2, 174-187.

 

Slattery, P. (2001). "The Educational Researcher as Artist Working Within." Qualitative Inquiry 7(3): 370-398.

This article discusses the complexity of arts-based educational research and arts-based autoethnography and presents a concrete example of an installation tableau that investigates the regulation of the human body and human sexuality in a junior high classroom of a Roman Catholic school in the 1960s. In this article, the modern abstract expressionist painter Jackson Pollock serves as an example of an artist using the unconscious to direct his work. Pollock's interest in surrealism and Michel Foucault's discussion of the work of the Belgian surrealist Rene Magritte figure prominently in the theoretical foundation for this article. Pollock provides a parallel to the process of the arts-based educational autoethnographer as researcher working within.

 

Slattery, P. (2003). "Troubling the Contours of Arts-Based Educational Research." Qualitative Inquiry 9(2): 192-197.

The author writes in response to the article presented by his friends and colleagues in arts-based educational research, Maria Piantanida, Patricia L. McMahon, and Noreen B. Garman. Maria, Pat, Noreen, and the author share a commitment to substantive qualitative educational research, particularly as this research is conducted using the arts, autoethnography, and other emerging arts-based methodologies. They have all worked closely together at the American Educational Research Association in the creation and expansion of the Arts-Based Educational Research Special Interest Group. They also were instrumental in the development of a new conference for arts-based research, initially in Albuquerque in February 2000, then in Austin in October 2000, and Victoria , Canada , in 2001.

 

Slattery, P. and N. Langerock (2002). Blurring Art and Science: Synthetical Moments on the Borders. Curriculum Inquiry, Blackwell Publishing Limited. 32: 349.

This article rejects the assumption that art and science are dichotomous in favor of a holistic and interdisciplinary understanding of the intimate relationship between the arts and sciences. The authors advance the notion that artistic modes of thought and aesthetic experiences are essential to the cognitive and expressive development of students and to the quality of the instructional milieu orchestrated by teachers. The authors respond affirmatively to Eisner and Powell’s rhetorical question as to whether or not we can think about education as a process aimed at preparing the artist, and they discuss several projects designed to advance the arts in education by integrating aesthetics into the philosophical understandings of teaching and learning. The authors diverge from Eisner and Powell on one significant issue: the nature of the aesthetic experience. Instead, they propose a Deleuzean reading of synthetical moments and experiences of profound insight that merge time, space, and self in a seamless transhistorical moment. The authors hope that this article will contribute to an ongoing discussion about the nature of aesthetics, philosophy, and the experience of self, as well as generate a fresh look at the expressive quality of arts –based research, particularly using the philosophy of Gilles Deleuze as a theoretical foundation.

 

Smithrim, K., & Upitis, R. (2005). "Learning through the arts: Lessons of engagement." Canadian Journal of Education 28(1&2): 109 - 127.

In this article, we describe the effects on student achievement and attitudes of a Canadian school-wide, arts education approach, Learning Through the Arts (LTTA). Our sample included over 6000 students and their parents, teachers, and principals. We gathered data, both at the outset and after three years of involvement in LTTA on student achievement, student attitudes towards arts and schooling, and out-of-school activities. We found no baseline differences in achievement nor in socioeconomic status in the LTTA and control schools. At the end of three years, the grade-6 LTTA students scored significantly higher on tests of computation than students in control schools. We conclude the article with suggestions for extending this longitudinal research.

 

Snowber, C. N. (2002). "Linguistics of creation." Teacher Education Quarterly 29(4): 119-20.

The text of "Linguistics of Creation," a poem, is provided.

 

Snowber, C. N. (2002). "Moist Manna." Teacher Education Quarterly 29(4): 122-3.

The text of "Moist Manna," a poem, is provided.

 

Snowber, C. N. (2002). "Unstoppable Work." Teacher Education Quarterly 29(4): 121.

The text of "Unstoppable Work," a poem, is provided.

 

Spina, S. (1994). Worlds together. Words Apart: An assessment of the effectiveness of arts-based curriculum for Second Language learners. AERA (Language, Culture and Curriculum), New Orleans , AERA.

Presents a rationale for designing an authentic arts-based curriculum (AABC) that will facilitate the scholastic achievement of second-language learners. The article offers proposals for the implementation of such a curriculum, discusses the design of AABC positioned within a Vygotskian framework of learning, and synthesizes applicable findings from related literature. (84 references) (Author/CK)

 

Springgay, S. (2003). "Cloth as intercorporeality: Touch, fantasy, and performance and the construction of body knowledge." International Journal of Education and the Arts 4(5).

The monstrous body (Shildrick, 2002), the altered body (Featherstone, 2000) and the masquerade (Tseëlon, 2001) have been subjects of recent theoretical analysis through scholarly writing and the works of contemporary visual artists (Wilson, Dyck, Orlan). Each term while slightly different, marks a theoretical concern with bodies that are conditioned as the abnormal other. Theories that engage with the monstrous, altered, and masquerading body do not position these terms as static binaries in opposition to the ideal or normal body, but rather their arguments are located within the body itself such that encounters with the strange are constant conditions of becoming (Shildrick, 2002). The latent body is always in process, open, pliable, and protruding. Opposed to the classical body, which is monumental, static, and standard, the monstrous, altered, and masquerading bodies resist, exaggerate, and destabilize distinctions and boundaries that mark and maintain bodies, signifying pleasure and desire as sites of insurgency. Bodies have been accorded a place of central importance in recent scholarship as researchers attempt to construct the meanings of the lived body, the social body, and body image (Grosz, 1994). Each discipline whether science, technology, sociology, sport, and/or art has de-constructed and challenged western philosophy which is rooted in a mind/body split (Price & Shildrick, 1999). What is evidently missing from this cogent literature is a re-representation of the body as tactile and felt. In this paper I analyze the monstrous, altered, and masquerading body not to further dichotomous thinking and systems of regulation and control, but as sites of excess where the pleasures of the body are central aspects of body knowledge. Interrogating the boundaries of the body, I offer a model of intercorporeality (Weiss, 1999) that examines the body in relation to other bodies and the ways in which knowing and being are informed through generative understandings of touch, fantasy, and performance. The arguments call for educational practices that are open to desire, allowing for tactile and felt knowledges.

 

Spry, T. (2001). "Performing Autoethnography: An Embodied Methodological Praxis." Qualitative Inquiry 7(6): 706-732.

This article argues the personal/professional/political emancipatory potential of autoethnographic performance as a method of inquiry. Autoethnographic performance is the convergence of the "autobiographic impulse" and the "ethnographic moment" represented through movement and critical self-reflexive discourse in performance, articulating the intersections of peoples and culture through the innersanctions of the always migratory identity. The article offers evaluative standards for the autoethnographic performance methodology, calling on the body as a site of scholarly awareness and corporeal literacy. Autoethnographic performance makes us acutely conscious of how we "I-witness" our own reality constructions. Interpreting culture through the self-reflections and cultural refractions of identity is a defining feature of autoethnographic performance.

 

Stanley , C. A. and P. Slattery (2003). "Who Reveals what to whom? Critical Reflections on Conducting Qualitative Inquiry as an Interdisciplinary, Biracial, Male/Female Research Team." Qualitative Inquiry 9(5): 705-728.

If qualitative inquiry seeks to understand and explain the meaning of social phenomena, then what is the influence of social interactions between researchers in this process? In seeking to understand social constructions of reality, how do racial and gender identities influence qualitative fieldwork? What unique insights can be gained by conducting qualitative research in interdisciplinary research teams? Does a biracial, male/female research team confer legitimacy when the research seeks to uncover experiences related to race and gender? The authors address these questions as they critically reflect and report on their experiences while conducting qualitative research as an interdisciplinary, biracial, male/female research team for a university retention study.

 

Sullivan, A. M. (2002). "Seminar in Teacher Education." Teacher Education Quarterly 29(4): 97-8.

The text of "Seminar in Teacher Education," a poem, is provided.

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Taylor, A. "Reinventing" Vocational Education Policy: Pitfalls and Possibilities. Alberta Journal of Educational Research. 48, No. 2, 139-161.

 

Taylor, J. M. (1997). "The Education of Ivan Denisovich." Journal of Correctional Education 48(2): 84-86.

An inmate explains how liberal arts-based postsecondary education offered him the cultural foundation, critical thinking, and communication skills to change his attitude and character. (SK)

 

Telles, J. A. (2000). Biographical connections: experiences as sources of legitimate knowledge in qualitative research. International Journal of Qualitative Studies in Education (QSE), Taylor & Francis Ltd. 13: 251.

In the narrative that follows, the author establishes biographical connections between a few marker events of his life history and the research topic he set himself to explore: teachers' critical awareness of language. By using a bricolage of qualitative research methods (narrative inquiry, hermeneutic phenomenology, heuristic research and arts-based research), the narrator illustrates the use of experiences as sources of legitimate knowledge in the research process. A composite portrait - a synthesis of the essential descriptions and meaningful interpretations of his experiences - is, then, presented in the form of a poem that illustrates a process of personal and professional growth and of becoming increasingly and critically aware of the construction of a teacher-self.

 

Trent, A. (2002). "Dreams as Data: Art Installation as Heady Research." Teacher Education Quarterly 29(4): 39-51.

An art installation project was created by preservice teachers and teacher educators at the University of Wyoming . The project combined arts-based teaching, qualitative research methods, and the presentation of different perspectives in an installation as a means of displaying data in a meaningful way that relates to the field of education. Following the execution of the project, the preservice teachers communicated the benefits that they had derived from taking part in the project. In addition, responses to the project were given that focused on the themes of teachers, students, external factors, environment, and goals, dreams, and visions. These energizing responses demonstrated the positive effects of arts education, collaboration, and user-friendly data display.

 

Upitis, R. (2003). "What is arts education good for? [Learning through the Arts]." Education Canada 43(4): n/a.

Our research involved almost 7,000 students in Grades 1 through 6. Some of these students were from LTTA schools, and some were from two other types of schools - 'regular' schools where there were no special programs in place, and elementary schools that had some other school-wide initiative, such as a focus on technology. At the end of three years, for most measures of mathematics and language achievement, there were no significant differences between the Grade 6 students in the LTTA schools and students in the two other kinds of schools. That is, involvement in the arts for the students in the LTTA schools did not come at the expense of achievement in mathematics and language. Site coordinators kept close tabs on the LTTA program in their cities and regions and reported far-reaching benefits to schools, teachers, students, and artists. These site coordinators were instrumental in keeping the channels of communication open between all parties. School district superintendents viewed the arts as critical in education and the LTTA program as a partial solution to chronic underfunding and lack of expertise in elementary arts education.

 

Vallance, E. (1977). "The Landscape of "The Great Plains Experience": An Application of Curriculum Criticism." Curriculum Inquiry 7(2): 87-105.

van Halen-Faber, C. and C. T. P. Diamond (2002). Depths of (Un)knowing: Arts-Based Spinning and Weaving. Curriculum Inquiry, Blackwell Publishing Limited. 32: 251.

Editorial. Discusses the works of the late W.G. Sebald, a European novelist and professor of modern German Literature at the University of East Anglia in England . Criticism of Sebald's book, 'The Rings of Saturn'; Allusions to Proust's works in the analysis of Sebald's book; Focus of arts-based inquirers.

 

Vaughan, K. (2005). Pieced together: Collage as an artist's method for interdisciplinary research. International Journal of Qualitative Methods, University of Alberta . 4: 1.

As a visual artist undertaking doctoral studies in education, the author required a research method that integrated her studio practice into her research process, giving equal weight to the visual and the linguistic. Her process of finding such a method is outlined in this article, which touches on arts-based research and practice-led research, and her ultimate approach of choice, collage. Collage, a versatile art form that accommodates multiple texts and visuals in a single work, has been proposed as a model for a "borderlands epistemology ": one that values multiple distinctive understandings and that deliberately incorporates nondominant modes of knowing, such as visual arts. As such, collage is particularly suited to a feminist, postmodern, postcolonial inquiry. This article offers a preliminary theorizing of collage as a method and is illustrated with images from the author `s research/visual practice.

 

Walker, K., and Smith, L. (2004). "Creative disruption - A task-based approach to engaging with original works of art." Journal of Art and Design in Education 23(1): 16 - 25.

This paper examines the value of a task-based approach to engaging with original works of art and focuses in particular upon the experiences of a group of PGCE Art and Design trainees when they visited an exhibition entitled, Air Guitar: Art Reconsidering Rock Music, to carry out given tasks. The extent to which a task-based approach might creatively disrupt trainee teachers' thinking and the nature and significance of such thinking within an educational context is considered, as is the impact of the tasks on their developing understanding of the need for a diversity of approaches to critical engagement. It draws extensively upon selected responses to the tasks and the trainees' subsequent reflections on the experience. Comparisons are made between trainees' responses to particular works and references to these works that are detailed in the exhibition catalogue. This is undertaken with the intention of examining the interrelationship between understanding and knowledge when reading and responding to works of art in the gallery context. A further concern is to generate debate and challenge assumptions regarding the nature and dynamics of gallery based activities and contribute to a process of development and innovation in which all participants can play an active part.

 

Waterhouse, P. J. (2002). Learin' 'em their letters - Story, professional practice and 'new paradigm' research : 16.

A combination of narrative, autobiographical, and arts-based research methods was used to explore experiential learning and professional practice in diverse teaching/learning and adult education settings. The research methodology drew upon concepts developed by the following individuals: Jerome Bruner and his constructivist approach that values autobiography as a continuing reinterpretation of ex.

 

Young, K., L. Neilsen, et al. (2002). "Arts-based inquiry as educational research: new visions [The Art of Writing Inquiry]." Alberta Journal of Educational Research 48(3): n/a.