Bernard W. Andrews - Böcker

Partnerships among a variety of institutions – for profit, not-for-profit, and non-profit – are a relatively recent organizational development. Such partnerships link businesses, government, and social agencies. The primary reason for these relationships is to achieve goals sooner and more efficiently by building on the resources and expertise of each partner. In arts education, schools, arts organizations, cultural institutions, government agencies, and universities have engaged in joint ventures to improve the teaching and learning of the arts disciplines in their schools and in their communities. These partnerships have been particularly beneficial for teachers, many of whom have limited background in the arts but are expected to teach them in their classrooms. Arts partnerships initially focused on the goals of the participating organizations; that is, to develop artistic skills, to build future audiences, and/or to encourage young people to consider an artistic career. More recently, partnerships focus on educational goals rather than solely artistic ones. Despite the challenges and complexities of arts education partnerships, most partners believe that the benefits to students, teachers and the community outweigh the disadvantages and consequently, as the research in Working Together demonstrates, they are willing to justify the time, energy, and expense involved to improve the quality of arts education.

Partnerships among a variety of institutions – for profit, not-for-profit, and non-profit – are a relatively recent organizational development. Such partnerships link businesses, government, and social agencies. The primary reason for these relationships is to achieve goals sooner and more efficiently by building on the resources and expertise of each partner. In arts education, schools, arts organizations, cultural institutions, government agencies, and universities have engaged in joint ventures to improve the teaching and learning of the arts disciplines in their schools and in their communities. These partnerships have been particularly beneficial for teachers, many of whom have limited background in the arts but are expected to teach them in their classrooms. Arts partnerships initially focused on the goals of the participating organizations; that is, to develop artistic skills, to build future audiences, and/or to encourage young people to consider an artistic career. More recently, partnerships focus on educational goals rather than solely artistic ones. Despite the challenges and complexities of arts education partnerships, most partners believe that the benefits to students, teachers and the community outweigh the disadvantages and consequently, as the research in Working Together demonstrates, they are willing to justify the time, energy, and expense involved to improve the quality of arts education.

Arts education research has increased significantly since the beginning of the new millennium. This peer-reviewed book, the first of two volumes, captures some of the exciting developments in Canada. There is geographical diversity represented from across this large country, as well as theoretical and methodological diversity in the chapters. There is also a sense of togetherness with those, and other, diversities. There are calls to action and calls to play. We hear voices of artists, researchers, and artist researchers. The life histories of others, and of the self, are presented. Perspectives on Arts Education Research in Canada, Volume 1: Surveying the Landscape provides a wide spectrum of current research by members of the Arts Researchers and Teachers Society (ARTS)/La societé des chercheurs et des enseignants des arts (SCEA), a Special Interest Group (SIG) within the Canadian Association for Curriculum Studies (CACS), which is in turn, is a constituent association of the Canadian Society for the Study of Education (CSSE).Contributors are: Bernard W. Andrews, Julia Brook, Susan Catlin, Genevieve Cloutier, Yoriko Gillard, Kate Greenway, Michael Hayes, Nané Jordan, Sajani (Jinny) Menon, Catrina Migliore, Kathryn Ricketts, Pauline Sameshima, and Sean Wiebe.

Arts education research has increased significantly since the beginning of the new millennium. This peer-reviewed book, the first of two volumes, captures some of the exciting developments in Canada. There is geographical diversity represented from across this large country, as well as theoretical and methodological diversity in the chapters. There is also a sense of togetherness with those, and other, diversities. There are calls to action and calls to play. We hear voices of artists, researchers, and artist researchers. The life histories of others, and of the self, are presented. Perspectives on Arts Education Research in Canada, Volume 1: Surveying the Landscape provides a wide spectrum of current research by members of the Arts Researchers and Teachers Society (ARTS)/La societé des chercheurs et des enseignants des arts (SCEA), a Special Interest Group (SIG) within the Canadian Association for Curriculum Studies (CACS), which is in turn, is a constituent association of the Canadian Society for the Study of Education (CSSE).Contributors are: Bernard W. Andrews, Julia Brook, Susan Catlin, Genevieve Cloutier, Yoriko Gillard, Kate Greenway, Michael Hayes, Nané Jordan, Sajani (Jinny) Menon, Catrina Migliore, Kathryn Ricketts, Pauline Sameshima, and Sean Wiebe.

Arts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies.Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.

Arts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies.Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.

Arts Education: A Global Affair highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to the changes in arts education practices as a consequence of the global pandemic and its ongoing variants. Moreover, teaching and research in arts education have changed significantly as a consequence of the world-wide pandemic, COVID-19. Emerging variants have exacerbated the situation and show no signs of subsiding. In response to these challenges, arts educators and researchers have developed new modes of instructional delivery and data collection. These include asynchronous, synchronous, hybrid and bi-modal online learning, and online questionnaires, surveys, focus groups, and video interviews. This volume highlights the adaptations that arts educators and researchers have undertaken to successfully adjust to this new reality in education.