Arts, Creativities, and Learning Environments in Global Perspectives - Böcker

Core texts addressing creativity in a number of contexts show that creativity as a scientific subject has received principally the attention of Western scholars. Is this due to the fact that Western cultures are more creative or sensitive to creativity than the Eastern cultures? The editors strongly believe that this is more due to the differences in understanding and practising creativity in the West and East than to an Eastern indifference to creativity.Arts-Based Education: China and Its Intersection with the World investigates the field of arts-based educational practices and research. It argues that reflections on these themes must necessarily be reframed and re-read beyond the limits of colonialist oppositions and suggests a constructive and reflexive approach to theory and methodology, which takes into account intercultural and critical perspectives in these studies.This volume is the tangible product of the acknowledgement that China and Chinese culture deserves a more systematic and up-to-date dissemination through recent studies that bring together the arts, learning and creativity. It is clustered around two themes: (1) China and its communication with the world through arts-based education in international contexts, and (2) the development of arts education in China.

Core texts addressing creativity in a number of contexts show that creativity as a scientific subject has received principally the attention of Western scholars. Is this due to the fact that Western cultures are more creative or sensitive to creativity than the Eastern cultures? The editors strongly believe that this is more due to the differences in understanding and practising creativity in the West and East than to an Eastern indifference to creativity.Arts-Based Education: China and Its Intersection with the World investigates the field of arts-based educational practices and research. It argues that reflections on these themes must necessarily be reframed and re-read beyond the limits of colonialist oppositions and suggests a constructive and reflexive approach to theory and methodology, which takes into account intercultural and critical perspectives in these studies.This volume is the tangible product of the acknowledgement that China and Chinese culture deserves a more systematic and up-to-date dissemination through recent studies that bring together the arts, learning and creativity. It is clustered around two themes: (1) China and its communication with the world through arts-based education in international contexts, and (2) the development of arts education in China.

The educational world is experiencing exciting yet tension-filled times. We all wish to strengthen and support creativity and creative teaching in schools. Yet recent debates about what “creativity” means, and how it should be implemented, raise the need for more specific approaches. Write a Science Opera (WASO) is one such approach. WASO is a transdisciplinary, inquiry-based approach to teaching at the intersection of art and science in schools. It is all about creative teaching and teaching for creativity.Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.Get ready for an exciting, creative journey …

The educational world is experiencing exciting yet tension-filled times. We all wish to strengthen and support creativity and creative teaching in schools. Yet recent debates about what “creativity” means, and how it should be implemented, raise the need for more specific approaches. Write a Science Opera (WASO) is one such approach. WASO is a transdisciplinary, inquiry-based approach to teaching at the intersection of art and science in schools. It is all about creative teaching and teaching for creativity.Inquiry-Based Learning: A Guidebook to Writing a Science Opera provides teachers with the reasons for, and advantages of, introducing pupils of all ages to WASO. It provides step-by-step instructions for how to implement WASO in classrooms. WASO is challenging, but the rewards are powerful: In WASO, it is the pupils’ curiosity and creative imagination which develop their science and art curriculum.Get ready for an exciting, creative journey …

The genealogy of racism dates back to 610 AD when Islamic jihadists invented whiteness as a religious justification for deracinating and enslaving African people out of East Africa and into Southeastern Europe for more than 1,300 years.Through a new interdisciplinary research methodology, Ancestorology, a taxonomy of Western cultural and visual productions of history are juxtaposed with the social stratifications of the African Diaspora to arrive at a new interpretation of the historical narrative.Decolonzing Arts-Based Methodologies: Researching the African Diaspora provokes critical analytical thought between the historical narrative and current public discourse in Western societies where people of African descent exist. The importance of this work begins the process of unlearning Western ways of knowing and seeing through hegemonic productions of knowledge and by assigning new values to humanity’s collective memory.

The genealogy of racism dates back to 610 AD when Islamic jihadists invented whiteness as a religious justification for deracinating and enslaving African people out of East Africa and into Southeastern Europe for more than 1,300 years.Through a new interdisciplinary research methodology, Ancestorology, a taxonomy of Western cultural and visual productions of history are juxtaposed with the social stratifications of the African Diaspora to arrive at a new interpretation of the historical narrative.Decolonzing Arts-Based Methodologies: Researching the African Diaspora provokes critical analytical thought between the historical narrative and current public discourse in Western societies where people of African descent exist. The importance of this work begins the process of unlearning Western ways of knowing and seeing through hegemonic productions of knowledge and by assigning new values to humanity’s collective memory.

Through this book, the author shares the nomadology of Alys-we searching for the Ideal School. Fed up with the System, traditional mainstream education directed by neoliberalism and high-stakes testing, Alys travelled to over 180 places of learning/schools in 23 countries that were educating differently. Through performative autoethnographic-we the author shares these embodied experiences in poems, vignettes, journaling and ethnodrama. Alys realised that the Ideal School is an oxymoron and she argues that schools and schooling, even within innovative education, are not the future for learning.By developing the edge-ucation and sharing stories from the ‘gems’ that currently exist in places of learning/schools, there is the potentiality and hope for a paradigm shift. The book encourages everyone to become School Tourists themselves. Performing School Tourism is a mediation between creativity, arts, learning and teaching, leading to change as it helps shape the identity of those performing School Tourism and allows them to add these new experiences and understandings of the possibilities for education to the Earth-we, the collective consciousness of the world. Read this book to follow Alys’ journey as they share stories and trouble different innovative pedagogies (including Steiner Waldorf, Progressive, Democratic, and Montessori). The reader can choose their own adventure, following the rhizomatic multiple voices of Alys-we.

Through this book, the author shares the nomadology of Alys-we searching for the Ideal School. Fed up with the System, traditional mainstream education directed by neoliberalism and high-stakes testing, Alys travelled to over 180 places of learning/schools in 23 countries that were educating differently. Through performative autoethnographic-we the author shares these embodied experiences in poems, vignettes, journaling and ethnodrama. Alys realised that the Ideal School is an oxymoron and she argues that schools and schooling, even within innovative education, are not the future for learning.By developing the edge-ucation and sharing stories from the ‘gems’ that currently exist in places of learning/schools, there is the potentiality and hope for a paradigm shift. The book encourages everyone to become School Tourists themselves. Performing School Tourism is a mediation between creativity, arts, learning and teaching, leading to change as it helps shape the identity of those performing School Tourism and allows them to add these new experiences and understandings of the possibilities for education to the Earth-we, the collective consciousness of the world. Read this book to follow Alys’ journey as they share stories and trouble different innovative pedagogies (including Steiner Waldorf, Progressive, Democratic, and Montessori). The reader can choose their own adventure, following the rhizomatic multiple voices of Alys-we.

This volume, created by seventeen interdisciplinary authors, brings together pioneering practices that introduce arts into education in Japan. The field of research ranges from kindergarten, primary and secondary school to liberal arts and postgraduate courses at university. The chapters cover both formal and informal settings, such as museums and after school programs. The genres of art include visual art, performance, dance, vocal music, and drama.Arts-based or arts-inspired methods help students’ artistic inquiry through creative or performative practices, leading to new findings that might not otherwise be described. Artistic practice makes students reflect on their own bodies, emotions, feelings, ways of life, and relationships with others, which leads to creative thinking.The volume is based on three new trends in art and education: 1) the development of Arts-Based Research in Japan since its introduction from abroad; 2) the introduction of art practice into academic research in various disciplines and diverse educational settings; and 3) the new trend in drama education and theatrical performance in Japan.Each chapter inspires and provokes discussion among researchers and practitioners in various educational settings on the future direction of art education in Japan and around the world.

This volume, created by seventeen interdisciplinary authors, brings together pioneering practices that introduce arts into education in Japan. The field of research ranges from kindergarten, primary and secondary school to liberal arts and postgraduate courses at university. The chapters cover both formal and informal settings, such as museums and after school programs. The genres of art include visual art, performance, dance, vocal music, and drama.Arts-based or arts-inspired methods help students’ artistic inquiry through creative or performative practices, leading to new findings that might not otherwise be described. Artistic practice makes students reflect on their own bodies, emotions, feelings, ways of life, and relationships with others, which leads to creative thinking.The volume is based on three new trends in art and education: 1) the development of Arts-Based Research in Japan since its introduction from abroad; 2) the introduction of art practice into academic research in various disciplines and diverse educational settings; and 3) the new trend in drama education and theatrical performance in Japan.Each chapter inspires and provokes discussion among researchers and practitioners in various educational settings on the future direction of art education in Japan and around the world.

Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women’s Music Movement: Music as Feminist Praxis, 1973–1980, Paul Ambrose Shaw III contends the women’s music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women’s music movement? Was the women’s music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM—Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery—Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity.

Scholarship on artistic output during second wave feminism (SWF) primarily reflects art-genres such as visual art, performance art, literature, and poetry. In The Women’s Music Movement: Music as Feminist Praxis, 1973–1980, Paul Ambrose Shaw III contends the women’s music movement (WMM) was a vibrant locus of feminist activity during SWF but received comparatively less scholarly attention. Specifically, Shaw conducts a content analysis of five songs recorded between 1973 and 1980. As such, he draws on musical elements and structures, poetic and lyrical devices, personal insights from the artists, and feminist theory to explore the following important questions: What can we learn about second wave feminist movement through the lens of the women’s music movement? Was the women’s music movement, as some scholars and activists assert, simply a cultural and lifestyle movement, or an impactful locus of feminist praxis? Through a detailed analysis of five songs recorded by stalwarts of WMM—Meg Christian, Cris Williamson, Ferron, Holly Near, and Linda Tillery—Shaw argues for the importance of WMM as a vibrant center of struggle, growth, and creativity that serves as a model for modern social movement cultural activity.

We live in a patriarchal world where women view themselves through the scripted lens of imperfection. Contemporary social media intensifies this message. Girls are bombarded with unnatural presentations of beauty, which they are told they will never achieve. Current research into the impact of social media, specifically Instagram and Tik Tok reveals its relationship to eating disorders and to other adolescent mental health identity issues.Transforming the perception of female identity in modern western society will require a deep cultural facelift as well as a celebration of that transformation.This book draws attention to the patriarchal mandates placed upon women during the 1960s. The author explores the combined impact which media and maternal influences had upon her adolescent identity development inclusive of anorexia. This volume includes two distinct parts: Part 1 (“She Speaks”) the author’s pre-adolescent memoir, and Part 2 (“They Speak”) an exploration of historical, psychological, and social identity influencers as well as an arts-based workshop designed to empower adolescent girls. You the reader, may choose to first immerse yourself in the narrative (Part 1) or to stand back and get an overview (Part 2), prior to that immersion.

We live in a patriarchal world where women view themselves through the scripted lens of imperfection. Contemporary social media intensifies this message. Girls are bombarded with unnatural presentations of beauty, which they are told they will never achieve. Current research into the impact of social media, specifically Instagram and Tik Tok reveals its relationship to eating disorders and to other adolescent mental health identity issues.Transforming the perception of female identity in modern western society will require a deep cultural facelift as well as a celebration of that transformation.This book draws attention to the patriarchal mandates placed upon women during the 1960s. The author explores the combined impact which media and maternal influences had upon her adolescent identity development inclusive of anorexia. This volume includes two distinct parts: Part 1 (“She Speaks”) the author’s pre-adolescent memoir, and Part 2 (“They Speak”) an exploration of historical, psychological, and social identity influencers as well as an arts-based workshop designed to empower adolescent girls. You the reader, may choose to first immerse yourself in the narrative (Part 1) or to stand back and get an overview (Part 2), prior to that immersion.

Through her use of the scholarly personal narrative and braided essay form, McGowan weaves strands of rhetoric with creative writing, navigating complex themes with academic rigor and emotional introspection. Her blend of equal parts humor, gravitas, and scholarship invites readers to explore the complexities of being a woman in a male-dominated world while looking at how writers might use coping mechanisms and transgressive workarounds, from code-switching to storytelling. With critical analyses of feminist discourse and a roadmap for navigating the ever-evolving landscape of gender politics, the essays in this book challenge us to rethink traditional thinking about gender and equality. Writing is Revision is a call to action, an ode to the power of the written word for anyone interested in feminism and literature.

Through her use of the scholarly personal narrative and braided essay form, McGowan weaves strands of rhetoric with creative writing, navigating complex themes with academic rigor and emotional introspection. Her blend of equal parts humor, gravitas, and scholarship invites readers to explore the complexities of being a woman in a male-dominated world while looking at how writers might use coping mechanisms and transgressive workarounds, from code-switching to storytelling. With critical analyses of feminist discourse and a roadmap for navigating the ever-evolving landscape of gender politics, the essays in this book challenge us to rethink traditional thinking about gender and equality. Writing is Revision is a call to action, an ode to the power of the written word for anyone interested in feminism and literature.

The book presents a novel analysis supporting the idea that a theatre ensemble is not just an entity but an emergent process. Through the lens of a theatre company's performative, creative, organizational, and activist practices, the ensemble is conceptualized in its collective becoming. This socio-historical and new materialist analysis of a European theatre company (ATIR) over thirty years highlights how a group's performative capacity to make-ensemble stimulates its organizational and social processes. With a commitment to participation, listening, and horizontality, the ensemble is shown to challenge the structures of capitalism, and fosters a vision of hope for societies.

The book presents a novel analysis supporting the idea that a theatre ensemble is not just an entity but an emergent process. Through the lens of a theatre company's performative, creative, organizational, and activist practices, the ensemble is conceptualized in its collective becoming. This socio-historical and new materialist analysis of a European theatre company (ATIR) over thirty years highlights how a group's performative capacity to make-ensemble stimulates its organizational and social processes. With a commitment to participation, listening, and horizontality, the ensemble is shown to challenge the structures of capitalism, and fosters a vision of hope for societies.

What does it mean to live a life of beauty and liberation? In an era marked by divisive debates over curriculum, justice, and inclusion in education, this book calls us to return to a fundamental question: our shared humanity.This book is an integrative work weaving together the lived experiences of educators, critical pedagogy, aesthetic theories, sublimity, creativity, and feminist philosophies of social justice and antiracism. It advances our understanding of oppression by applying aesthetic frameworks to analyze, discuss, and dismantle dehumanizing systems.Aimed at educators, higher education faculty, and interdisciplinary scholars, this book bridges theory and practice. It provides actionable strategies for creating classrooms that encourage critical thinking, creative expression, and sustained engagement with liberatory principles. Examining how beauty and sublimity influence our understanding of justice and oppression, this book offers a fresh perspective on fostering transformative learning environments.Beauty has much to teach us about liberation. This text invites readers to explore the complexities of oppression while uncovering how education can leverage beauty and aesthetics to cultivate resilience, courage, and solidarity. For those committed to aligning educational practices with justice and human flourishing, this book offers both inspiration and a roadmap for change.

Visibility in the transgender community and trans studies has increased in the last decade. Conversations around trans history and memory have often been focused on historical individuals or capturing descriptions of memorable events. There have been few conversations that look at how those histories are shared down and through the trans community. This book uses the events related to the Compton’s Cafeteria Riots and the subsequent creation of the Trans Cultural District in San Francisco’s Tenderloin neighbourhood as focal point as remembered through the eyes of six trans artists and activists and then expanding that reach into the archival and artistic practices across the US, Mexico, and Canada. Redefining trans practice and trans ethos can challenge, create, and reinterpret public memorialization. In doing so, notions what collective memory and public history are transform how we understand and envision the lived experiences trans people today.