IJETA 17.2 Table of Contents
Nadine M. Kalin, Principal Editor, University of North Texas
Mira Kallio-Tavin, Editor, Aalto University
Sheri Klein, Editor, Kent State University
Alexandra Lasczik, Editor, Southern Cross University
‘Oohing and ahhing’: The power of thin(g)king in art education research
Emily Jean Hood, University of Arkansas at Little Rock
Tyson E. Lewis, University of North Texas
In this article, we seek to explore what new materialist theory and post-intentional phenomenology bring to art education research. Materiality is contextualized politically and historically, and then applied to an emerging research methodology which attempts to centre the material world as a key participant in an art education dissertation research project. The research site, a creative reuse store, serves as both context and participant as the authors explore the powerful collective agency of materiality in processes of art making. Portions of findings from the project are presented here and a new theory of thin(g)king is discussed.
‘Immersed in Art’: Engaged learning in art and design history
Lisa Chandler, University of the Sunshine Coast
Alistair Ward, University of the Sunshine Coast
Lisa Ward, University of the Sunshine Coast
Established approaches to art history pedagogy typically involve a primarily passive form of instruction incorporating the viewing of works projected on screens. While such approaches can convey valuable information, they can also contribute to student disengagement and do not necessarily support deep learning. This article examines three learning initiatives incorporating an immersive teaching space to determine how these forms of technology-enhanced active learning might enhance student comprehension and engagement. The article considers how learning design incorporating the affordances of such immersive environments can provide multimodal learning experiences that stimulate student imaginations and support learning and engagement in a manner that complements rather than replaces traditional modes of instruction.
Reflective visual journals as a means for promoting generalist preservice teachers’ professional identity in art education
Victoria Pavlou, Frederick University
In many countries, the subject of art in primary education is entrusted to generalist teachers rather than art specialists. This article explores ways of promoting in-depth learning in art education courses while simultaneously gaining an understanding of how preservice generalists develop their professional identities. This study focuses on the journey of five senior B.Ed. in primary education students from Frederick University in Cyprus, who were invited to engage with reflective practices through visual journaling on art, education and on art integration with social issues. The findings suggest that reflective visual journals can be used to promote generalist preservice teachers’ autonomy and self-reliance in their art making and art responding as well as in the design of art units for their future pupils. The implications of the study open up possibilities for teacher education as it recognizes the role of visual journaling in enhancing different forms of knowledge, acknowledging feelings of both tension and pleasure, promoting perceptions of self-efficacy and supporting inquiry. Overall, such efforts allow preservice teachers to transition from student to teacher identity.
Art-based events for conflicted communities: Engaging and educating through art
Maria Huhmarniemi, University of Lapland
In the Arctic, environmental conflicts over land use and the exploitation of natural resources cast shadows over communities. Artists’ and art educators’ responses can play a meaningful role in resisting harmful developments. Emerging artistic and pedagogical interventions follow principles of socially and environmentally engaged art and art education. This visual essay describes a contemporary art event that opposed plans for an iron ore mine next to Pallas-Yllästunturi National Park in Finnish Lapland. An art-based action-research strategy was used to develop resources for communities in conflict. It focuses on describing the cyclical nature of art interventions. Analyses of activities show that art-based resources in environmental battles can foster cultural resilience, impact values, enhance hope and allow for campaigning that uses art to communicate environmental concerns. Further research into artistic interventions that open dialogue between parties in conflict is required.
The suitcase project: Historical inquiry, arts integration and the Holocaust
Agnieszka Chalas, University of Toronto
Michael Pitblado, The York School
In this article, we ‐ a history teacher and visual art educator ‐ present a unique, arts-integrated history project that engaged grade eleven history students in creating an installation of suitcase assemblages exploring the lives of young victims of the Holocaust. While we recognize that there exist numerous strategies for teaching about the Holocaust, we assert not only that arts integration is useful in enhancing student learning and engagement in history but also that the curricular approach is ideally suited for the teaching of difficult history such as the history of the Holocaust. In addition to examples of the student artworks produced, we provide evidence of the project’s success in increasing students’ understandings of the assigned historical content as well as its success in complicating two dominant Holocaust narratives. In sharing our own experiences of using an arts-integrated approach to teaching the history of the Holocaust, we hope to inspire both history teachers who are looking for alternative ways to tackle the complex challenge of teaching difficult history as well as art teachers who are looking to integrate sound historical inquiry into their issues-based art projects.
Exploring a critical research approach in fibre art studies in the United States Sirpa Kokko, University of Helsinki
The purpose of the study was to reveal the central elements of combining a critical research approach with hands-on activities in fibre art studies. The article is based on ethnographic data gathered in two fibre art courses at a US university in the autumn of 2018. Intersectionality and interconnectedness, the material context and the process, emerged as the most important concepts of the critical research approach under study. These ideas were combined with hands-on activities so that the students learned both the basic skills and the broader social, cultural and material meanings related to their activities. The students appreciated the critical research approach which broadened their perspectives on fibre art. The low status of fibre art at the academy was revealed and associated with the gendered tradition. Study findings recommend the development of pedagogies that implement a critical research approach in art and craft education.
A Companion to Curation, Brad Buckley And John Conomos (Eds), Dana Arnold (Series Ed.)
Veronica Sekules, GroundWork Gallery for Art and Environment, UK
‘My thoughts for the call to unite’, Ken Robinson (2020)
Reviewed by Mary Stokrocki, Arizona State University, USA
Video Game Review
Prisme 7, Bright and Game Society (2020)
Occupy White Walls (OWW), StikPixels (2020)
Reviewed by Li-Yan Wang, National Changhua University of Education, Taiwan