Learning about ourselves from others: transformation of artists’ identities through community-based arts practice

Community-based arts projects can act as powerful learning opportunities in a variety of lifelong and life wide contexts. Many of these projects involve artists, who usually undertake a leading role to ensure that some type of transformation takes place for those involved. The impact on the leaders—in this case the artists—is difficult to identify, even if they have been involved in several community-based arts projects. In this paper I provide insights drawn from my doctoral thesis. There I explored the cumulative impact on artists who work on community-based arts projects, what transformations and learning occurred for them as a result of working on these projects, and how those experiences contributed to their identities. My study involved hermeneutic phenomenological/narrative research approaches based on in-depth semi-structured interviews with 12 visual artists. Data were analysed using a recursive and spiralling process and were subsequently presented thematically as a neonarrative. The findings discussed in this article relate to the artists’ attempts at reconciling aspects of their individual, social and cultural identities by challenging their own as well as the community’s perceptions of artists. The cumulative effect of being involved in community-based arts practice also provided the artists with ongoing identity capital in that they came to realize that they learnt about themselves by connecting with others. The findings contribute to the emerging debate that challenges the narrow view of measuring the value of community-based art projects based on instrumental and public worth, and invites exploration of the private and intrinsic impact on individuals.     

A Quest for Knowledge: An Interview With Roland S. Persson

This article describes the CREST (Creative Resources Enriching Student Talents) program's creative arts model for gifted elementary school students. Using Type I, II, and III activities adapted from Renzulli's enrichment triad model, courses in the visual and performing arts using community resources and artists are scheduled to broaden and enhance each child's creativity. The process encompasses both the gifted and talented students for whom art studies are a growth experience. Identification, goals, planning, curriculum design, and management are explained, and evidence of successful Type III projects are documented.     

Betwixt and Between: Working Through the Aesthetic in Philosophy of Education: George F. Kneller Lecture,Conference of the American Educational Studies Association Savannah,Georgia, October 30, 2008

At a time when both philosophy of education and the arts are under threat within education, this article inquires into interdisciplinarity as one way of approaching the disciplines of philosophy of education and aesthetics. The article offers a retrospective autobiographical intellectual history and phenomenology of the author's own learning and scholarship within Higher Education in three main areas—philosophy of literature education, women's studies, and philosophy of music education, areas paralleling the three periods of her academic career. One sub-theme of this narrative about the balancing act of working in literature and music through philosophy of education is the author's ongoing resistance to professionalization or disciplinary academic control—of literature, philosophy, and music—while being a critical student of educational theory and practice in these areas—philosophy, literature and music within philosophy of education—of thus being “betwixt and between.” Two other themes comprising the article's subtext are “praxis” and “embodiment.” The double entendre of the phrase “working through” entails, first, using the arts of literature and music to practise philosophy of education; and secondly, embracing the psychological, ethical, and spiritual introspection that comes with critical engagement of the arts and its discourses. In short, the article aims to reprise some burning philosophical educational questions that have preoccupied its author over the years, questions deemed especially pertinent to the current increasingly diverse membership in the discipline of educational studies.     

Moving Fiercely Linear Preservice Teachers into the Joys of Integrating Art in the Classroom: An Artist Residency in a University Early Childhood and Special Education Program

How can artist residencies for preservice teachers plant seeds for future classrooms? Teacher educators and a teaching artist describe a two-tiered residency in an early childhood and special education program that transformed preservice teachers' attitudes toward visual art and arts integration. Findings are based on teaching artist and instructor reflections as well as a qualitative analysis of student journal entries. Preservice teachers who had no prior art training and were resistant toward abstract painting began to enjoy it and appreciate the value of art for children's learning. They came to recognize visual art as a tool to support social development and children with special needs, understood the importance of process in children's art experiences, and considered ways to integrate art throughout the curriculum. We urge teacher educators and teaching artists to incorporate artist residencies into teacher education programs to prepare future teachers to integrate the arts into the classrooms of tomorrow.     

Of All Studies,Study Your Present Condition: Essay Review of Denis Dutton's The Art Instinct: Beauty,Pleasure, and Human Evolution (Oxford: Oxford University Press, 2009)

In this review I will assess the validity of Denis Dutton's provocative argument for Darwinian aesthetics. In The Art Instinct Dutton draws on the insights of Darwin and the evolutionary psychologists Geoffrey Miller and Steven Pinker to analyse art as the product of evolution. Pinker asserts on the dust cover that ‘this book marks out the future of the humanities – connecting aesthetics and criticism to an understanding of human nature from the cognitive and biological sciences' and that ‘Dutton has made a bold and original contribution to this exciting new field’. Miller's opinion of The Art Instinct is noticeable by its absence. In his review of The Art Instinct, arts academic Richard Hickman concludes: ‘for educators, if we accept that young people have an “art instinct”, then it is incumbent upon us to ensure that this instinct is nurtured and developed’. I agree. My aim is to critically assess Dutton's contribution and speculate about how it might inform future directions in educational research.     

NGO Art Education

How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21^st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism.     

ZBrush艺术家及其图形呈现

运用图形软件进行图形创作,开辟了新的视觉艺术空间,视觉艺术家运用图形软件ZB rush进行艺术创作是一个新的艺术现象。本文对ZB rush图形软件特点的分析,从不同的视角解读ZB rush艺术家创作的图形作品,解析视觉艺术家在运用图形软件创作所形成新的视觉艺术表现语言,研究图形软件功能以及图形艺术创作规律,或许对视觉艺术家从事图形艺术创作有着一定的启示。     

Arts education and creativity enhancement in young children in Hong Kong

The present study aimed at assessing Hong Kong young children’s gains in creativity and their teachers’ application of arts education after a one-year artists-teachers collaborative arts education project that involves various art forms (i.e. drama, visual arts and integrated). Participants included 790 young children, 217 parents and 65 teachers in seven kindergartens and nurseries. Measures included the Test for Creative Thinking–Drawing Production, Story-Telling Test (STT), the subscales of parent-rated creativity, communication and motivational characteristics, and the adapted Scale of Application of Arts in the Classroom. Among the three art forms, children in the visual arts group demonstrated highest gains in verbal creativity as evaluated by the STT. Based on parents’ report, there were significant differences in children’s communication characteristics across the three art forms. Significant differences across art forms were also found in teachers’ confidence in teaching arts to 3–4?years old and their perception of arts for arts sake. Both teachers and students take advantage of the professional and artistic input and guidance of practising artists in arts appreciation and production. Implications and limitations were discussed.     

Out of the Depths Have I Cried: Aesthetic Opposition at the Gateway to Auschwitz

Terezin, the gateway to Auschwitz, a town commandeered by the Nazis to serve as a “model” relocation camp to demonstrate the Third Reich's generosity and kindness toward the Jews, was an elaborate hoax. In an environment where truth was twisted beyond recognition, artists, writers, actors, and musicians used their work to revive the spirits of the condemned and to leave a legacy of truth in the face of an insidious lie. The arts became the foundation for a “curriculum” that shaped the lives of the inmates surviving in hell.     

Political and Aesthetic Equality in the Work of Jacques Rancière: Applying his Writing to Debates in Education and the Arts

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.     

“A Capital and Novel Argument”: Charles Darwin's Notebooks and the Productivity of Rhetorical Consciousness

With the rise of poststructuralist critiques of the autonomous subject, attention has shifted from the nature of “intentional persuasion” to the constitutive nature of discourse. Although this turn has led to valuable new insights into the nature of rhetoric, it also threatens to discount one of the most vital contributions of the rhetorical tradition—the nature of rhetorical invention. This essay seeks to recover the notion of invention by drawing from John Dewey's naturalistic interpretation of experience. In Dewey's framework, “consciousness” is neither the private contents of thought nor a point of articulation for social discourse, but a practice of manipulating public meanings as a means of responding to problematic situations. I then use Dewey's notion to advance the concept of a “rhetorical consciousness,” which I define in terms of the sophistical principles of imitatio and dissoi logoi. To demonstrate the pragmatic significance of this concept, I then show, through an analysis of Charles Darwin's notebooks, how Darwin employed his own rhetorical consciousness within his struggle to invent the revolutionary arguments that led up to his publication of On the Origin of Species. My hope is that this naturalistic interpretation of rhetorical invention will contribute to the ongoing project of cultivating a more intelligent, critical, and creative citizenry through the application of classical rhetorical principles to contemporary democratic forms of education in both the arts and sciences.     

Passing by Proxy: Collusive and Convulsive Silence in the Trial of Leopold and Loeb

Despite unfolding as it did during the sexual revolution of the 1920s, Leopold and Loeb's “trial of the century” elicited a deluge of constitutive discourse that struggled against overt articulation and circulation of the boys’ queerness. In this essay, I argue that those discourses—dominant reportage, in camera courtroom conferences, and Clarence Darrow's famous summation—manifested what I label “passing by proxy,” a collusive and convulsive act of straight closeting that speaks queer sexuality despite concerted effort to silence it.     

Nothing Human

In this essay C. C. Wharram argues that Terence's concept of translation as a form of “contamination” anticipates recent developments in philosophy, ecology, and translation studies. Placing these divergent fields of inquiry into dialogue enables us read Terence's well‐known statement “I am a human being — I deem nothing human alien to me” as a recognition of the significance of the “nothing human” for contemporary humanism. By recasting Terence's human/foreign pairing through Freud's concept of the uncanny, Wharram draws a parallel between a “nothing human” that is radically interior to the human subject and an exterior agency of “nothing human” described by actor‐network theory and object‐oriented ontology. Only through an “alien phenomenology” (a concept borrowed from Ian Bogost) dependent on metaphors and translations that are necessarily approximate (or “contaminated”) can we begin to approach this “nothing human.”     

Digital Art Making as a Representational Process

In this article I bring artistic production into the learning sciences conversation by using the production of representations as a bridging concept between art making and the new literacies. Through case studies with 4 youth media arts organizations across the United States I ask how organizations structure the process of producing autobiographical digital art through a focus on representational tasks and how learning can be traced by examining youth artists' representations over time. Using a distributed cognition framework I analyze data on the process of making digital art in terms of the macro and micro tasks performed in order to identify occasions for external representation construction and use across organizations. I then examine how individual youth engage in these macro and micro tasks by producing representations that demonstrate their understanding. These analyses show that youth media arts organization production processes engage young artists in a representational trajectory that begins with developing a story about the self, moves toward a focus on how the tools of the medium afford representation of that story, and culminates in digital representations that reflect an understanding of the relationship between story and tools.     

The effect of an artist in residence program on self-reported loneliness in senior citizens

The study, funded by the Pennsylvania Council on the Arts and the Pennsylvania Department of Aging, measured the effect that an artist in residence program (conducted by state-vetted professional teaching artists) had on self-reported loneliness in senior citizens. All participants were aged 60 years or older and participated in programming in state-funded senior community centers located in 14 sites throughout the Commonwealth of Pennsylvania. Artists offered 10 sessions in creating and critiquing art to senior citizens in their respective art forms including performing arts, visual arts, and multidisciplinary/interdisciplinary arts. Through pre and post-tests, changes in loneliness were measured using the Revised UCLA Loneliness Scale. The data revealed that there was a significant correlation between a self-reported decrease in feelings of loneliness and participation in a program conducted by professional artists.     

Rejoinder to Aaron Cooley's Review of Teaching Against Global Capitalism and the New Imperialism: A Critical Pedagogy

Because of Professor Cooley's prosecutorial review, I want to make clear at the outset that my rejoinder is not a codefendant's answer to a plaintiff's replication. Instead, I first attempt to provide an “immanent” analysis of Cooley's indictment, in the sense of dealing with what dwells within his reasoning. A specific philosophical definition of “immanent” reads: taking place within the mind of the subject, but having no effect outside (this does not apply to me as an outsider). I intend to battle with Cooley up close—no “dancing”—my defense against his offense. In the second part, the focus will be on what I think is missing from Cooley's attempt to discredit McLaren and Farahmandpur's book. His decision or failure to deal with what Marx and the most effective Marxists have written, and how some of this provided analyses that could be and/or was acted upon, may be more serious than his beating up on the book's authors.     

“为艺术而艺术”还是“为人生而艺术”——以电影《入殓师》为例

以电影《入殓师》为例,通过论证入殓仪式的艺术性,揭示"艺术之道"和"入殓仪式之道",最终阐明真正的艺术完全超越了所谓"为艺术而艺术"和"为人生而艺术"的出发点之争、目的论之争,真正的艺术既是为艺术也是为人生。     

Experimenting with Visual Storytelling in Students' Portfolios: Narratives of Visual Pedagogy for Pre‐Service Teacher Education

This article interprets the repercussions of visual storytelling for art education and arts‐based narrative research and, particularly, it approaches visual storytelling as a critical tool for pre‐service teacher education. After reinterpreting storytelling from the perspective of visual critical pedagogy, I will narratively reconstruct the use of visual storytelling in three learning stories taking the form of students' portfolios. As a visual narrative researcher, I will examine the tactics for writing and reading that these students have developed in creating visual stories: the first narrative analyses the role of art during the reconstruction of the learning process by incorporating autobiography and reflexivity (Tanit's portfolio); the second narrative reflects on deconstruction and intertextuality in a multimedia portfolio, which mainly interrelates opera and cinema (Eulàlia's portfolio); and the third narrative introduces virtual storytelling and connects self‐awareness/meta‐awareness with multi‐literacy in narrative learning (Sonia's portfolios). This article also views improvisations, attempts, drafts and interactions in the process of writing and reading portfolios as part of visual experimentation to fabricate learning stories, in order to analyse the opportunities that visual storytelling offers for visual narrative pedagogy.     

A SYSTEMATIC CLASSIFICATION OF PUBLICATIONS RELATIVE TO THE HISTORY OF EDUCATION

“The accent in cultural history is on close examin‐ ation — of texts, of pictures, and of actions — and an open‐mindedness to what those examinations will reveal, rather than on elaboration of new master narratives.”

Lynn Hunt (Ed.), The New Cultural History (Berkeley, Calif., 1989), p. 22.

“[Films] are a legitimate way ... of representing, interpreting, thinking about and making meaning from the traces of the past ... that seriously deals with the relationship of past and present.”

Robert A. Rosenstone (Ed.), Revisioning History (Princeton, N.J., 1995), p. 3.

One of postmodernism's major lines of development collapses the boundaries and hierarchical distinctions between elite or academic culture and popular culture, giving us new opportunities to cross boundaries separating history from literature and the arts, the “academic” from the “popular”, the archival from the imaginative. I embrace the freedom that postmodernism offers to entertain new ideas, play different kinds of language games, challenge established “ways of seeing”.

I propose here that we extend the range of what we regard as historical “source” to include film, and that film be accepted by historians of education as a legitimate form of textual representation and important evidentiary “source” for our exploration and interpre‐ tation of culture and of education. What follows is an attempt at integrating film into the historiography of education. For illustrative purposes, I've chosen Peter Weir's “Dead Poets Society” ("DPS”, 1989) for my text. I don't presume to give “the” meaning of “DPS” for understanding recent American educational history, but to suggest some of its possible meanings, which, given the problematic nature of “meaning” in our postmodern epoch, is about all we can hope for, but which may be enough to continue the conversation about movies after the movie is over.