International Yearbook for Research in Arts Education 4/2016

At the Crossroads of Arts and Cultural Education: Queries meet Assumptions
1. Auflage 2016
ISBN: 978-3-8309-8430-6
Verlag: Waxmann Verlag GmbH
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 276 Seiten

This yearbook is the fourth in an annual series of publications by the International Network for Research in Arts Education (INRAE). INRAE aims to disseminate high quality international research in arts education related to the implementation of UNESCO's 'Seoul Agenda: Goals for the development of arts education'.
This yearbook reflects the growing practice around the world of interchanging the terms arts education and cultural education to such an extent that they may eventually be regarded as (nearly) synonymous. We question if there are differences, and how arts and cultural education may be interwoven in different regions of the world. With this in mind we want to reconsider fundamental questions of what arts education is about.
Some authors write from a general, more global, perspective, while others are concerned with challenges within one specific art subject or with particular reference to developments in their own country. Overall, the articles analyse and discuss the possibilities and challenges of arts and cultural education around the world.

Autoren/Hrsg.

Inhaltsverzeichnis

1;Book Cover;1
1.1;Thanks to Our Donors;5
1.2;Contents;7
1.3;Note of Acknowledgement;11
2;Introduction;13
2.1;What Arts and Cultural Education Are About;14
2.2;Approaches;14
2.3;Meaning Making;15
2.4;Challenges;15
2.5;Crossroads;16
3;Making Sense of Arts Education. Wrestling with Two Critical Myths in the Field (Shifra Schonmann);21
3.1;Opening;21
3.2;Setting the Scene;22
3.3;Perceptions of Education;23
3.4;The Culture of School;23
3.5;Arts as/in/through/for/based Education;24
3.6;Critical Myths;25
3.6.1;Arts Education is a Safe, Risk-free Field for the Educational Process;25
3.6.2;Arts Education should be at the Core of the Curriculum;26
3.7;Closing Note;29
3.8;References;29
4;Different Definitions and Focus on Arts Education. An Explorative International Empirical Study (Susanne Keuchel);31
4.1;What is Arts Education?;31
4.2;Excursus: Different Perspectives on the Term “Culture“ by Different Groups of the Population in Germany;32
4.3;Definitions and Focus on the Term Arts Education from the Perspective of International Experts;34
4.4;Focus on Arts;34
4.5;Focus on Fields of Education;35
4.6;A Way of Life to Express Identity of Individuals and Society;37
4.7;Focus on Transfer Effects and Arts Education as a Learning Method;38
4.8;Conclusion;38
4.9;References;40
5;The Bogotá Experience: Pre-testing Proposed Dimensions for the Evaluation of Arts Education (Larry O’Farrell, Leonardo Garzón Ortiz and Ernst Wagner);41
5.1;Introduction;41
5.2;Background;41
5.3;Possible Dimensions for Assessment of Arts Education;42
5.4;Three Arts Education Programs in Bogotá;45
5.4.1;CLAN;45
5.4.2;Early Childhood Integral Attention;45
5.4.3;Philharmonic Orchestra Project;46
5.5;Provisional Evaluation of Programs Using Wagner’s Dimensions;46
5.6;Discussion;47
5.6.1;Art-Specific Dimension;47
5.6.2;Social Dimension;48
5.6.3;Political Dimension;48
5.6.4;Economic Dimension;49
5.7;Conclusion;49
5.8;References;50
6;Talking Sport and Talking Arts (Ralph Buck and Barbara Snook);53
6.1;Introduction;53
6.1.1;Methodology;54
6.1.2;Identifying a School;55
6.1.3;Observations and Findings;55
6.1.4;Turning Point;56
6.1.5;The Similarities and Differences of Arts and Sports;58
6.1.6;What can be learnt here?;59
6.2;Conclusion;61
6.3;References;61
7;Nurturing a Jian Zi for the Development of Art Talent in Light of Confucian Heritage (Wei-Ren Chen);63
7.1;Prelude: Nurturing a Jian Zi for the Development of Art Talent;63
7.2;Cultivating Art Talent in Light of Confucian Heritage;64
7.3;An Intimate Organic Connection through Guided Discovery;64
7.4;Personalized Guidance as Connoisseurship;66
7.5;Guiding Sensitivity to Human Concerns;67
7.6;Coda;69
7.7;Acknowledgement;69
7.8;References;69
8;Considering the Cultural Insignia Project with High School Visual Arts Students in Northwestern Ontario, Canada (Mindy R. Carter);71
8.1;Introduction;71
8.2;Literature Review & Rationale;72
8.3;Methodology;72
8.4;Research Site and Participant Descriptions;73
8.5;Data;74
8.6;Common Themes;75
8.7;Implications and Conclusions;76
8.8;Future Directions;77
8.9;References;78
9;Educational Cultures in Arts Education: Composition as an Approach to Arts Education in Heterogeneous Student Groups (Sven Bjerstedt);80
9.1;Introduction;80
9.2;Higher Education and Practitioner Knowledge: A Conceptual Framework;81
9.3;Composition Didactics;81
9.4;To Sing a Haiku;82
9.5;Musical Setting of Poems by Individual and Collective Projects;82
9.6;The Interview Study;84
9.7;Results: Students’ Experiences and Reflections;84
9.8;Summary;86
9.9;References;86
10;Asperger’s Syndrome as a Framework for the Characterization of Stanley in Harold Pinter’s „The Birthday Party“. A Window into the Relationship between Art and Culture (Beverley A. Brenna);88
10.1;Introduction;88
10.2;Conceptual Framework;89
10.3;Methodology/Methods;90
10.4;Findings;91
10.4.1;Communication and Social Interaction;91
10.4.2;Restrictive Interests;92
10.4.3;Motor Clumsiness and Sensory Sensitivity;92
10.4.4;Mindblindness;92
10.4.5;Coping Mechanisms for Cognitive Confusion;92
10.4.6;Organization and Time Management;93
10.4.7;Difficulties in Verbal Expression;93
10.5;Possible Connections between Theatre of the Absurd and Autism Spectrum Disorders;93
10.5.1;Autism and Genius;94
10.6;Conclusions and Implications;94
10.7;References;95
10.8;Appendix;96
11;Multiple Arts Literacies as Worldmaking in Education (Anna-Lena Østern);99
11.1;Introducing the Central Concepts;99
11.2;Ways of Worldmaking;100
11.3;Reading the Word and the World – Arts Literacy;100
11.4;Multiple Literacies Theory Reading, Reading the World and Self in Multiple Environments;100
11.5;Summing up Literacy Concepts Connected to Worldmaking;101
11.6;Method;102
11.7;The Context for the Storyline Project;102
11.8;The Storyline Wall;103
11.9;Storyline Key Questions are Open Ended;106
11.10;Rules for Stone Age Clans and for Today’s Humanity;107
11.11;Aesthetic Transformation and Meaning Making;108
11.12;Worldmaking and Embodied Learning Promoting Deep Education;109
11.13;Art and Learning;109
11.14;To Think like a Dramaturg as an Aesthetic Approach to Education Creating a Third Space;109
11.15;Deep Education is about Mindset and Action;110
11.16;Conclusion: Become Literate through Worldmaking;111
11.17;References;111
12;Visual Art Education: At the Crossroads of Art, Science and Spatial Learning (Kathryn Grushka, Miranda Lawry, Neville Clement, Alice Hope and Andy Devine);113
12.1;Introduction;113
12.2;The High Achievers Learning Intervention Project;113
12.3;Inquiry Methods;114
12.4;Art Science Visualisation;114
12.5;Art Science: Connecting Cognitive-affective, Metaphoric, Abstract and Spatial Thought;115
12.6;Findings;115
12.7;Stephanie;116
12.8;Mirima;117
12.9;Discussion;118
12.9.1;Cognitive and Affective Thinking;119
12.9.2;Visuospatial Thinking;119
12.9.3;Metaphoric Thinking;120
12.10;Conclusion;120
12.11;References;120
13;Deep Learning and Teaching as Affordances of Inclusive Dance and Arts Education (Tone Pernille Østern and Philip Channells);123
13.1;Background and Research Question;123
13.2;The Dance Project, with a Research Project Added;123
13.3;Theoretical Perspectives;124
13.4;Depth in Learning;126
13.5;Depth in Teaching;127
13.6;Concluding Remarks;129
13.7;Acknowledgements;130
13.8;References;130
14;Engaging in Critical Dialogue about Identity in the Singapore Music Classroom: Perspectives from General Music Teachers (Shanhwa Lu and Chee-Hoo Lum);132
14.1;Introduction;132
14.2;Purpose and Method of Study;134
14.3;Dialoguing about Identity through Thinking Routines;135
14.3.1;What are Singaporean Music and Musical Practices?;136
14.3.2;Make a Stand: Changing the National Anthem;137
14.4;Summary Thoughts;139
14.5;Acknowledgement;140
14.6;References;140
15;Supporting the Performative and Narrative Competencies (Marit Ulvund);141
15.1;Introduction and Background;141
15.2;Methodology;143
15.3;A Performative Competence;143
15.3.1;The Phenomenological and Performing Body;143
15.3.2;The Performing Body in Theatre Work;145
15.3.3;The Performative Competence;146
15.4;A Narrative Competence;147
15.4.1;The Desire for the Story;147
15.4.2;The Narrative Competence;147
15.5;The Performative and Narrative Competencies;148
15.5.1;A Performing Narrative?;148
15.6;Supporting the Performative and Narrative Competencies through a Body-based Approach – Conclusion;148
15.7;References;149
16;The Policy Rodeo: Stories from the Australian Outback (John O’Toole);153
16.1;Introduction;153
16.2;Stan’s Story – A Principal’s Tale;154
16.3;The Researchers’ Story – A Tale of Two States;156
16.4;The Story of Drama in the Australian Curriculum;157
16.4.1;Part 1 – The Loss: Drama and English;157
16.4.2;Part 2 – The Gain: Drama and the Arts;158
16.5;Findings and Inferences;159
16.6;References;160
17;It is also About What It Isn’t Meant to Be. Socially Engaged Arts Education in these Neoliberal Times (Tyler Denmead);162
17.1;Introduction;163
17.2;Socially Engaged Arts Education and Youths: The Need for Political Economy;163
17.3;Methodology;165
17.4;Rolling with Community-led Revitalization;166
17.5;Beyond Rolling with it?;168
17.6;References;169
18;Information and Communication Technology: A Basis for Arts Education Reforms in Uganda (Benon Kigozi);170
18.1;Introduction;170
18.2;Rationale;171
18.3;Research Question;172
18.4;Method;172
18.5;Results and Discussion;175
18.6;Conclusion;177
18.7;References;177
19;Analysing the Arts in the National Curriculum in Compulsory Education in Iceland (Rannveig Björk Thorkelsdóttir and Ása Helga Ragnarsdóttir);179
19.1;Changes in Society, Changes in Education;179
19.2;The Importance of the Arts;180
19.3;The Arts Curriculum in Iceland;181
19.4;Educational Values of the Arts;181
19.5;Educational Values of Drama;182
19.6;Are all Art Forms Equally Represented in Icelandic Education?;183
19.7;Conclusions – Discussion;184
19.8;References;184
20;Art, Pla(y)ce, Culture and Education (Janinka Greenwood);189
20.1;Introduction: Three Scenes;189
20.2;Focus, Approach and Purpose of this Article;191
20.3;Place as Geographical Location, and as Somewhere to Stand;192
20.4;Culture as a Context in which Art is Made;192
20.5;Art as a Process of Making and Breaking Meaning;194
20.6;Art, Education, Place and Culture;194
20.7;Art, Place, Culture and Community Learning;195
20.8;A Working Model;197
20.9;Implications for Arts (-for-) Education;197
20.10;References;198
21;When Family, Social Context and Arts Practices Amalgamate Culture and Arts Education (Gloria P. Zapata Restrepo);199
21.1;Arts Education and Cultural Education;199
21.2;Arts Education in Colombia;201
21.3;As a Conclusion;203
21.4;References;204
22;Social Media – A New Stage for the Drama Teacher (Kristian Nødtvedt Knudsen);205
22.1;To the Reader …;205
22.2;Introduction;205
22.3;Drama Pedagogy and Digital Media;206
22.4;Performative Inquiry;207
22.5;Learning in a Multimodal Perspective;208
22.6;Performative Approach to Praxis;208
22.7;Multimodal Considerations of Social Media;209
22.8;Performative Considerations of Social Media;210
22.9;Social Media – A New Stage for the Drama Teacher?;211
22.10;References;212
23;Engaging Communities through Drama: Drama and Arts Education Serving Wider Cultural and Social Agenda (Robin Pascoe);214
23.1;Introduction;214
23.2;Engaging Communities through Drama – Overview;215
23.3;Framing the Project;216
23.3.1;The Challenges of Paradigmatic Thinking;216
23.3.2;Changing Ways of Thinking About Audience;216
23.3.3;Development of Applied Theatre Practice;217
23.3.4;Moving beyond Studio Practice;217
23.3.5;Drama and Communitas;218
23.4;Four Projects;218
23.4.1;Issues and Challenges;219
23.4.1.1;Challenging Habitual Thinking and Dispositions – The Challenge of Transforming Belief and Action;220
23.4.1.2;Challenging Content;220
23.4.1.3;The Role of the Drama Leader;221
23.5;Towards the Next Cycle of the Project;221
23.6;References;221
24;Cross-Cultural Learning Engagements through the Arts in Uganda (Jill Pribyl);223
24.1;Introduction;223
24.2;Purpose of the Study;223
24.3;Contextualizing Dance Education in Uganda;224
24.4;Bringing New York University to Uganda;225
24.5;Data Presentation;226
24.6;Participatory Approaches to Teaching and Learning;226
24.7;Application of Teaching Skills and Knowledge;227
24.8;Challenging Cultural Norms;227
24.9;Negotiating Culture Norms and Adaptations;228
24.10;Discussion;228
24.11;Conclusion;229
24.12;References;229
25;Dance Teacher Education in the 21st Century: Linking Cultural and Aesthetic Practice (Kym Stevens and Avril Huddy);230
25.1;Introduction;230
25.2;Background to the Research;231
25.3;The Australian Context;231
25.4;Practicing Cultural and Aesthetic Practice;232
25.5;Content and Contextual Knowledge;233
25.6;Transformational Learning Pedagogy;233
25.7;Empathy Development;234
25.8;Teaching for Equity;235
25.9;Conclusion;235
25.10;References;236
26;Intersections of Public and Private Enterprise in American Music Education: Lessons Learned from the “School of Rock” (Corin Overland);238
26.1;Introduction;238
26.2;Public and Private Partnerships in American Music Education;239
26.3;Changes in American Music Education after 2000;240
26.3.1;An Increased Need for Private and Philanthropic Support;240
26.3.2;Shifting Preferences regarding Musical Content;241
26.4;The Popular Music Education Movement (PME);241
26.5;Intersections of Public and Private Enterprise in PME;242
26.5.1;Commercial and Non-Profit Providers of Popular Music Education;242
26.5.2;Bringing Popular Music Education to the Public Schools;242
26.6;Successes and Challenges of PME Partnerships;243
26.7;Conclusion;244
26.8;References;244
27;Connecting Music and Culture in Education: Increasing Our Musical and Cultural Understanding (Lily Chen-Hafteck);247
27.1;Inherent Mutual Influences between Music and Culture;247
27.2;Teaching Music, Teaching Cultural Understanding;248
27.3;The Power of Music in Bringing People Together;250
27.4;Connecting Music and Cultural Education;251
27.5;Conclusion;252
27.6;References;252
28;The Interrelation between Music Education and Cultural Education in Early Childhood Music Education in Kenya (Elizabeth Adang’o);254
28.1;Introduction;254
28.2;A Historical Background of Music Education in Kenya;254
28.3;Cultural Education in Kenya;256
28.4;Cultural and Music Education in the School Context;256
28.5;Exploring the Relationship between Music Education and Cultural Education through the Song „Iani“;258
28.6;In Conclusion: The Interrelationship between Music Education and Cultural Education;260
28.7;References;260
29;Contributors;265