To see the other types of publications on this topic, follow the link: Arts-informed inquiry.
Journal articles on the topic 'Arts-informed inquiry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Arts-informed inquiry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Morey, Rickie-Lee, Josephine Le Clerc, Marina Minns, Deirdrie Gregory, and Susanne Glynn. "Visualizing Academic Librarians: An Arts-informed Inquiry." Journal of Academic Librarianship 44, no. 6 (November 2018): 833–44. http://dx.doi.org/10.1016/j.acalib.2018.09.012.
Full text
2
Stanley, Denise. "Using Arts-Informed Inquiry as a Research Approach." International Journal of the Arts in Society: Annual Review 4, no. 2 (2009): 21–30. http://dx.doi.org/10.18848/1833-1866/cgp/v04i02/35580.
Full text
3
Yılmazlı Trout, İnci, Shaniek Tose, Caitlin Caswell, and M. Candace Christensen. "Integrating Arts in a Collaborative Research Process: An Arts-Informed Inquiry." LEARNing Landscapes 15, no. 1 (June 23, 2022): 367–83. http://dx.doi.org/10.36510/learnland.v15i1.1085.
Full textAbstract:
The rich learning that accompanies collaborative research practices can go unappreciated without systematic reflection and examination, which is an under-researched area. In this arts-informed inquiry, grounded in the experiences of four scholars, we show how artmaking was integrated into a qualitative research process to represent findings. In the qualitative phase, we analyzed researcher reflections kept throughout the research process to identify themes. Then, we created different art forms to represent the themes. Engaging in artmaking allowed us to be reflexive, strengthened our understanding of collaboration, and how using arts expanded the qualitative findings.
4
Ewing, Robyn, and John Hughes. "Arts-Informed Inquiry in Teacher Education: Contesting the Myths." European Educational Research Journal 7, no. 4 (January 1, 2008): 512–22. http://dx.doi.org/10.2304/eerj.2008.7.4.512.
Full textAbstract:
Arts-informed inquiry has attracted a great deal of controversy in recent times as it has gained popularity as an educational research methodology in teacher education. As with other innovative approaches and methodologies, there have been lively debates about its rigour, authenticity and appropriateness. This article suggests principles for its use in exploring relevant questions in teacher education research and examines some of the issues that have been used to challenge its integrity. Several recent teacher education research projects undertaken by staff and research higher degree graduates at the University of Sydney are discussed initially as exemplars and to provide a context for the discussion. The authors demonstrate how research using arts-informed inquiry contributes perspectives and understandings that are distinctive from other methodologies and so can offer new understandings about some of the liminal issues in teacher education.
5
Dossa, Shama. "Arts-Informed Inquiry: Possibilities and Potential for Decolonising Methodology." Kohl: A Journal for Body and Gender Research 5, Spring (April 1, 2019): 45–56. http://dx.doi.org/10.36583/kohl//5-1-6.
Full textAbstract:
This paper explores the potential and contextual difficulties of experimenting with arts-informed research as a methodology through a decolonizing transnational feminist lens in the context of Pakistan. The approach was applied as part of a study with community development workers to explore the theory and practice or praxis of empowerment in development discourse. Although challenging, I believe that the approach has the potential to make research more relevant, accessible, and community-centered, honouring diverse ways of knowing. It can facilitate critical collaborative meaning-making in every day contexts, which is important for community development, women’s movements, and feminist theorizing.
6
Schwind, Jasna, Margareth Zanchetta, Kateryna Aksenchuk, and Franklin Gorospe. "Nursing students’ international placement experience: an arts-informed Narrative Inquiry." Reflective Practice 14, no. 6 (December 2013): 705–16. http://dx.doi.org/10.1080/14623943.2013.810619.
Full text
7
Caulley, Darrel. "Book Review: Qualitative Inquiry: Thematic, Narrative and Arts-Informed Perspectives." Evaluation Journal of Australasia 12, no. 1 (March 2012): 53–55. http://dx.doi.org/10.1177/1035719x1201200113.
Full text
8
Schwind, Jasna Krmpotić, and Gail M. Lindsay. "Arts-Informed Narrative Inquiry: Crossing Boundaries of Research and Teaching-Learning." LEARNing Landscapes 9, no. 2 (April 1, 2016): 473–87. http://dx.doi.org/10.36510/learnland.v9i2.788.
Full textAbstract:
Creative engagement accesses profound knowing and understanding that is not reachable by words alone. Situated in Connelly and Clandinin’s Narrative Inquiry, we use creative self-expression in teaching-learning, research, and practice. We examine artful approaches used in research with students and nurses in mental health, and in our classrooms. Through such artful inquiry we push the boundaries of what it means to co-create knowledge. Our students, future caregivers, learn how knowing has both epistemological and ontological dimensions. In our experience, it is embodied knowing that has the greatest potential for making connections with those in our care.
9
Lewis, Lerona Dana, Asia Wright-Harvey, and Tobias Moisey. "Creating Spaces for Arts-Informed Responses in Teacher Education Programs." LEARNing Landscapes 9, no. 2 (April 1, 2016): 367–79. http://dx.doi.org/10.36510/learnland.v9i2.781.
Full textAbstract:
We address the bene ts and challenges of using an arts-informed response in an undergraduate teacher education course from the perspective of a teacher and two students. Feminist pedagogies provide the theoretical lens through which our experiences are analyzed. From the teacher’s perspective, this arts-informed approach modeled to pre-service teachers how they could use arts-informed inquiry in their future classrooms, to engage in conscious raising about inequality, while meeting di erent learning styles in their classrooms. From the students’ perspective, it was surprising to be invited to do an arts-informed reading response. Acceptance depended on the perception of risk. Our conclusion is that more space should be created for arts-informed approaches in undergraduate teacher education programs.
10
Caine, Vera, Susan Sommerfeldt, Charlotte Berendonk, and Roslyn M. Compton. "Encouraging a Curiosity of Learning: Reflecting on Arts-Informed Spaces Within the Classroom." LEARNing Landscapes 9, no. 2 (April 1, 2016): 127–41. http://dx.doi.org/10.36510/learnland.v9i2.767.
Full textAbstract:
It is through imagination that we create arts-informed inquiry spaces of learning. Our teaching practices and research include being awake to would-be artistry by encouraging a curiosity of learning. In these spaces we have learned to be open to surprise, play, and possibilities. As we make arts-informed methods integral to teaching and learning, we purposefully engage; in our classroom is where experiences call forth inquiry. In this paper we make visible four common threads. These threads include: considering the ontological and epistemological underpinnings of our practices; the signi cance of relationships; playfulness, imagination, and world travelling; and reconsidering our teaching and research practices.
11
Lindsay, Gail M., and Jasna K. Schwind. "Arts-informed narrative inquiry as a practice development methodology in mental health." International Practice Development Journal 5, no. 1 (May 13, 2015): 1–12. http://dx.doi.org/10.19043/ipdj.51.005.
Full text
12
Lindsay, Gail, and Jasna K. Schwind. "Arts-Informed Narrative Inquiry into nurse-teachers’ legacy for the next generation." Reflective Practice 16, no. 2 (December 23, 2014): 195–205. http://dx.doi.org/10.1080/14623943.2014.992405.
Full text
13
Clark/Keefe, Kelly, and Jessica Gilway. "Attuning to the Interstices of Arts-Based Research and the Expressive Arts: An Experiment in Expanding the Possibilities for Creative Approaches to Inquiry." LEARNing Landscapes 9, no. 2 (April 1, 2016): 159–80. http://dx.doi.org/10.36510/learnland.v9i2.769.
Full textAbstract:
In this article, the authors2 examine the generative, yet heretofore under-articulated convergences and divergences between the eld of expressive arts (EXA) and the sub-genre of arts-based research known as a/r/tography. Experimenting with the discursive and practical terrain between the two elds, the authors discuss what they see and sense as the potentiality for an EXA-informed variant of a/r/tographic research informed by new materialist theoretical perspectives. Overall, the work aims to contribute to the expanding dialogue among arts-based researchers who are reaching across diverse discursive and disciplinary boundaries, mining relevant conceptual and practical linkages for thinking the role of creative making practices in social and educational inquiry anew.
14
Shields, Sara Scott. "Walking through Theory." International Review of Qualitative Research 11, no. 3 (August 2018): 286–302. http://dx.doi.org/10.1525/irqr.2018.11.3.286.
Full textAbstract:
This article describes my experiences teaching the graduate research course, “Research Survey,” where I used an artfully imagined assignment focused on the development of theoretical frameworks. Through practitioner and arts-informed inquiry, I explore how students reflected and made sense of their theoretical frameworks by creating three-dimensional miniature spaces. This inquiry seeks deeper understanding of the usefulness of arts- and image-based practices in student and teacher negotiation of complex knowledge formation in higher education contexts. The goal of the research is to answer the question: How might the creation of three-dimensional miniature spaces allow students to develop and understand their theoretical research frameworks?
15
Paton, Joy, Debbie Horsfall, and Amie Carrington. "Sensitive Inquiry in Mental Health." International Journal of Qualitative Methods 17, no. 1 (March 15, 2018): 160940691876142. http://dx.doi.org/10.1177/1609406918761422.
Full textAbstract:
This article presents an innovative tripartite approach for conducting safe and ethical ‘sensitive inquiry’ in the field of mental health recovery. The tripartite approach brings together the principles of recovery with trauma-informed practice and collective impact strategies. Together, these provide a framework for embedding and embodying recovery principles in research design and practice that empowers participants and ‘takes care’ of participants and researchers. The approach was effectively deployed in a 1-year qualitative arts–based study conducted with people living with severe and persistent mental illness. Its success was evident in the high retention rate of participants, despite their ongoing vulnerabilities, and in the elicitation of findings that expand current understandings of mental health recovery from the point of view of people with lived experience. In this article, we discuss the tripartite approach, how this was applied in the study, and what the design achieved in research outcomes and participant experience.
16
Miller, Melinda G., Ellen L. Nicholas, and Meaghan L. Lambeth. "Pre-Service Teachers' Critical Reflections of Arts and Education Discourse: Reconstructions of Experiences in Early Childhood and Higher Education." Contemporary Issues in Early Childhood 9, no. 4 (January 1, 2008): 354–64. http://dx.doi.org/10.2304/ciec.2008.9.4.354.
Full textAbstract:
This layered account of arts education is produced through the three authors' critical reflections of experiences in their own early childhood education, and their pre-service teacher education. The first layer establishes links between the arts, learning in the arts and critically reflective practices through an account of teaching and learning in Unit X — a compulsory arts unit in a four-year teacher education course. The second layer is a recall of early childhood arts experiences and how these informed our identities as artists, students of the arts and critically reflective teachers. Possibilities for promoting critically reflective practices in teacher education are recommended, alongside a call for more systematic modes of reflective inquiry in a teacher degree program.
17
Grushka, Kathryn Meyer, Aaron Bellette, and Allyson Holbrook. "Researching Photographic Participatory Inquiry in an E-Learning Environment." Articles 49, no. 3 (October 8, 2015): 621–39. http://dx.doi.org/10.7202/1033550ar.
Full textAbstract:
This article focuses on the use of Photographic Participatory Inquiry (PPI) in researching the teaching and learning of photography in the e-learning environment. It is an arts-informed method drawing on digital tools to capture collective information as digital artefacts, which can then be accessed and harnessed to build critical and reflective photographic practices. The multimedia tools employed (for example GoPro video and screen capture) are critically discussed for their potential to contribute understanding of photographic artistic practice and the learning of a digital generation. The article may also provide critical insights and inform more nuanced methods for research and scholarship when wishing to investigate the personalized, participatory, and productive pedagogies of a networked learning society.
18
Kulnieks, Andrejs, and Kelly Young. "Ekphrastic Poetics: Fostering a Curriculum of Ecological Awareness Through Poetic Inquiry." in education 20, no. 2 (November 14, 2014): 78–89. http://dx.doi.org/10.37119/ojs2014.v20i2.199.
Full textAbstract:
In this article we outline the role of ekphrastic poetics in an ecological practice of poetic inquiry. Ekphrastic poetics, as a rhetorical device, involves one medium of art relating to another medium by unfolding its form and essence. Ultimately, our work involves a poetic response to an aesthetic form and it is through our ongoing collaborations that we are able to outline the importance of the poetic benefits of dwelling in natural places. We offer specific examples of how we engage in interpretive response activities that help to foster ecological habits of mind in teacher education. Keywords: arts-informed; ekphrastic poetics; collaboration; poetic inquiry; ecology; curriculum
19
Yuan, Yanyue, and Richard Hickman. "“Autopsychography” as a Form of Self-Narrative Inquiry." Journal of Humanistic Psychology 59, no. 6 (August 4, 2016): 842–58. http://dx.doi.org/10.1177/0022167816661059.
Full textAbstract:
In this article, we propose “autopsychography” as a form of self-narrative inquiry. Autopsychography seeks to track the shaping of creative paths when reflecting on lived experience as opposed to simply reporting what happened. We illustrate three major theoretical implications underpinning this concept: its rootedness in humanistic psychology that frames the human subject as the “whole person”; its emphasis on “change” and “growth,” core to educative experience; and its arts-informed features. We situate our discussions of autopsychography in the context of self-narrative approaches and we underscore its distinctiveness through comparisons with autoethnography as an already well-recognized methodology. We then present an autopsychographic study into Yanyue’s experience after submitting the softbound copy of her PhD thesis in which she experimented with an “oral diary” and the use of “found poetry” as ways of presenting data.
20
Davis, Jeffry C. "The Virtue of Liberal Arts." Journal of Interdisciplinary Studies 19, no. 1 (2007): 61–80. http://dx.doi.org/10.5840/jis2007191/24.
Full textAbstract:
Despite a decline of liberal arts values and institutions of higher education, the demand for a liberal arts approach to study remains strong at many church-related colleges and universities that affirm a Biblical worldview and strive to promote interdisciplinary integratim. This essay proposes that Christian schools with a liberal arts heritage need to reaffirm liberal arts values and pedagogy. Prompted by perennial questions of the human condition--"Who am I?" and "How should I live?"--students should be challenged to form responses consistent with ethical inquiry. Christian liberal arts teachers need an informed historical understanding of the "liberal arts." The cultivation of virtue is a core component of the classical artes liberates ideal, which entails shaping persons into moral citizens able to contribute to the common good. Quintilian, the first publicly paid teacher in Western civilization, promoted virtue through curricular aims and methods, and the early Church adapted them for catechization. Proponents of Christian higher education may thus draw on Quintilian's educational ideas to inspire teaching that truly builds character and civic responsibility, consistent with the liberal arts ideal.
21
Kim, Eun-Ji Amy. "It Is All Part of the Process: Becoming Pedagogical Through Artful Inquiry." LEARNing Landscapes 9, no. 2 (April 1, 2016): 317–37. http://dx.doi.org/10.36510/learnland.v9i2.778.
Full textAbstract:
The experiences and challenges that teacher-educators go through tend to be private and go unnoticed (Berry & Loughran, 2005). Through self-study, teacher-educators can re ect on their practices and learn from each other’s practices. As a novice teacher- educator who was teaching an inquiry-based teaching science methods class with a collaborative teaching team, I explore my experience of being a teacher-educator through arts-based self-study. In this paper, I discuss how the process of artful inquiry informed my own research and teaching practices. Based on the idea of a/r/tography, I link my artistic, research, and teaching practices together to explore what it means to be becoming pedagogical (Gouzouasis, Irwin, Miles, & Gordon, 2013).
22
Yalden, Joan, Brendan McCormack, Margaret O'Connor, and Sally Hardy. "Transforming end of life care using practice development: an arts-informed approach in residential aged care." International Practice Development Journal 3, no. 2 (November 13, 2013): 1–18. http://dx.doi.org/10.19043/ipdj.32.002.
Full textAbstract:
Purpose: To demonstrate that practice development is an effective strategy to enable an aged care team to embed a palliative approach to care of dying people into practice culture. Method: Practice development methodology was integrated with an action research evaluation framework, as a systematic and reflexive process of inquiry aimed at achieving innovative and transformative end of life care. Drawing on multiple sources of observational, group and interview data, evidence-based guidelines and the use of arts-informed active learning methods, a multidisciplinary aged care team explored personal and professional values and beliefs about principles of care delivery. These were creatively translated into meaningful expressions of evidence-informed end of life care and embedded into daily clinical practice. Results: Reflexive analysis of multiple sources of data, alongside the use of evidence-based guidelines, supported the collaborative development of a ‘palliative care chest of drawers’ (PCCOD). As an artefact and one outcome of using practice development in the implementation of a palliative approach to care, the PCCOD brought visible, shared meanings and new ways of working to support care of people who are dying, their families, other facility residents and staff. The PCCOD enabled the aged care team to embed practice innovations into normative patterns of care. Conclusion: Practice development strategies are effective in enabling practitioner-led innovation in clinical practice through integrated inquiry and transformative processes. Implications for practice: The use of a practice development, arts-informed approach: Enables the creation of space for workbased learning and innovation, such as the development and use of the PCCOD to support the process of implementation of changes in practice Makes visible changes to practice, based on shared meanings of a palliative approach to end of life care that reflects the culture of the workplace Provides a creative strategic tool to engage others in the processes of transformation and collaboration, which takes initiatives from a small active learning group into the workplace Enables what was previously a ‘hidden’ part of care to be a distinctive care package that engages residents, families and all members of the aged care team
23
Walji-Jivraj, Neelam, and Jasna K. Schwind. "Nurses’ experience of creating an artistic instrument as a form of professional development: an arts-informed narrative inquiry." International Practice Development Journal 7, no. 1 (May 17, 2017): 1–18. http://dx.doi.org/10.19043/ipdj.71.003.
Full text
24
Seko, Yukari, and Trish Van Katwyk. "Embodied interpretation: Assessing the knowledge produced through a dance-based inquiry." Aotearoa New Zealand Social Work 28, no. 4 (December 23, 2016): 54–66. http://dx.doi.org/10.11157/anzswj-vol28iss4id299.
Full textAbstract:
INTRODUCTION: Although the field of social work has experienced an exponential increase in the use of arts-based methodology, the way in which knowledge shared through artful presentations is understood by audience members remains understudied. As arts-based inquiry often involves active co-construction of meanings between researchers, participants and audiences, it is crucial for social work researchers to scrutinise the process of meaning making by audience members. In this article, we explore how audience members make sense of research findings presented through improvisational dance and how the provision of information about the dance may influence viewer responses.METHODS: A personal experience with self-injury documented in a creative poem was represented through the performance of improvisational dance pieces and assessed by two groups of viewers, with and without knowledge of the topic of the dances. The viewers were prompted to interpret the dances by reflecting on the feelings, thoughts and perceptions they had while watching the performance. A thematic analysis was conducted to compare and contrast the responses of the two groupsFINDINGS: By comparing the interpretations of informed and uninformed viewers, we suggest that interpretation can be influenced by normative, socially constructed assumptions that hinder empathic and action-inspiring engagement.CONCLUSION: We conclude the article with a discussion of potential implications for social work research, practice and education.
25
Bhattacharya, Kakali. "Understanding Entangled Relationships Between Un/Interrogated Privileges: Tracing Research Pathways With Contemplative Art-Making, Duoethnography, and Pecha Kucha." Cultural Studies ↔ Critical Methodologies 20, no. 1 (November 14, 2019): 75–85. http://dx.doi.org/10.1177/1532708619884963.
Full textAbstract:
I explore how using a bag portrait activity, duoethnography, and a mixed-medium layering method of arts-informed analysis in a doctoral-level qualitative research class enhanced students’ understanding of their un/interrogated privileges, relationship between Self and Other, and the role of creativity in inquiry. Using pecha kucha as a medium and a message allowed me to integrate visual information and de/colonial and anti-oppressionist narratives. Using creativity as a mode of instructional activity, class project, way of data collection, analysis, and representation lend to aspects of performative selves and our role as agentic, ethical, compassionate qualitative researchers.
26
Cologon, Kathy, Timothy Cologon, Zinnia Mevawalla, and Amanda Niland. "Generative listening: Using arts-based inquiry to investigate young children’s perspectives of inclusion, exclusion and disability." Journal of Early Childhood Research 17, no. 1 (December 17, 2018): 54–69. http://dx.doi.org/10.1177/1476718x18818206.
Full textAbstract:
While the importance of inclusive approaches to research has been identified, much childhood research is still done ‘to’ not ‘with’ young children, with research focusing on the experiences of children who experience disability commonly involving data from parents/families/practitioners, rather than from children themselves. In this article, we explore the development of an arts-based research project involving young children who experience disability as active participants in an exploration of their perspectives on inclusive education. Accordingly, we ruminate on questions about how we can genuinely ‘listen’ to children who experience disability in an aesthetic and ethical manner, and how we can use artistic ways of knowing to engage in meaning-making with children. Using arts-based research as an aesthetic framework alongside insights from critical pedagogy as a theoretical framework, we explore ‘aesthetic’ approaches to being, teaching, researching and knowing. As a team of researchers who do and do not experience disability, we share reflections on arts-based methodologies informed by critical approaches to conceptualising disability and research. As artistic modes of expression are central to young children’s everyday lives and play and can create enjoyable and safe communicative spaces, we share dialogues, artwork and methodological reflections on opportunities for children to choose ways of interacting and communicating, allowing possibilities for agency, expression and creativity. Specifically, we conceptualise and concentrate on possibilities for using arts to foster ‘listening’, meaning-making and generative or transformative praxis, in order to explore how arts-based research can be a powerful, authentic, ethical and meaningful provocateur for listening ‘generatively’ to young children who experience disability in research.
27
Mecenas, Jolivette, Yvonne Wilber, and Meghan Kwast. "Antiracist and Faith-based: Critical Pedagogy-Informed Writing and Information Literacy Instruction at a Hispanic-Serving, Lutheran Liberal Arts University." Radical Teacher 121 (December 9, 2021): 14–23. http://dx.doi.org/10.5195/rt.2021.901.
Full textAbstract:
English faculty and librarians at a Hispanic-Serving Lutheran liberal arts university collaborated to integrate critical information literacy in a first-year writing course, following the Lutheran educational tradition of valuing inquiry and aligning with a faith-based social justice mission. The authors discuss an Evangelical Lutheran tradition of education committed to antiracism, and the challenges of enacting these values of equity and inclusion while addressing institutional racism. The authors also describe how curricular revisions in writing and information literacy instruction informed by critical pedagogy decentered whiteness in the curriculum, while creating needed opportunities for students and faculty to engage in cross-racial dialogue about systemic racism.
28
Deans, Jan, and Robert Brown. "Reflection, Renewal and Relationship Building: An Ongoing Journey in Early Childhood Arts Education." Contemporary Issues in Early Childhood 9, no. 4 (January 1, 2008): 339–53. http://dx.doi.org/10.2304/ciec.2008.9.4.339.
Full textAbstract:
The established place of the arts within early childhood education is rarely questioned. Nevertheless, social, cultural and political shifts in values, beliefs and practices impact on approaches to the arts, as early childhood practitioners grapple with increasingly complex views on how children learn and what factors impact on their learning. This article maps some of these shifts over the past 15 years, at one Early Learning Centre (ELC) in Australia. The centre has created and regularly re-conceptualised its vision for the place of the arts in the lives of young children. Curriculum is informed by a layered and multidimensional theoretical framework, where the arts are integrated into the children's learning, and theories are considered as collections of partial truths. The article documents a number of significant events where the children engaged with the arts as ways of making and communicating meaning, and as a means for inquiry-based learning, for developing their artistry and as a space for relationship building between individuals and communities. Reflections on these events examine the image of the child, symbolic languages, emergent curriculum, the role of artist/ teacher and the impact of socio-cultural values on arts pedagogy and practice.
29
Ingalls Vanada, Delane. "Teaching for the Ambiguous, Creative, and Practical: Daring to be A/R/Tography." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 110. http://dx.doi.org/10.18432/r27h09.
Full textAbstract:
This purpose of this inquiry is to explore how an a/r/tographic model of shared inquiry led to deeper insights about learner-centered pedagogy. Invited to teach and redesign a very large ‘Art & Society: Visual Arts’ course at a large university with a 21st century issues-based focus, together with my commitment as a constructivist, learner-centered teacher, the current phenomenological study was born. The phenomena studied was whether a large, lecture-style class taught from a more non-traditional, non-lecture, art-as-experience, learner-centered epistemology might affect students’ balanced thinking and perceptions about their learning. Students’ perceptions, along with the regulatory role of emotions, are critical factors in motivation and behavior; students’ self-beliefs about learning and their capabilities affect their behavior, resilience, and persistence in the face of challenge.Arts-based methods of inquiry with multiple forms of data, regarding both students’ and researcher’s lived experiences resulted in new artforms and informed praxis. After a student survey was determined the best way to poll perceptions about their learning in a more constructivist environment, the author’s Mixed Parallaxic Praxis method emerged from this study. Key findings indicated students’ increased openness to other perspectives and to cultural and creative experiences, increased engagement and a personal desire/thirst to create art, and a personal confidence to analyze art—despite their lack of former experience with artmaking or art instruction in high school. Qualitative and survey data informed how learner-centered practices enhance students’ self-beliefs about their abilities as creative learners, so important to overall motivation and capacity to learn overall.
30
Schwind, Jasna K., Gail M. Lindsay, Sue Coffey, Debbie Morrison, and Barb Mildon. "Opening the black-box of person-centred care: An arts-informed narrative inquiry into mental health education and practice." Nurse Education Today 34, no. 8 (August 2014): 1167–71. http://dx.doi.org/10.1016/j.nedt.2014.04.010.
Full text
31
Grushka, Kathryn. "Conceptualising Visual Learning as an Embodied and Performative Pedagogy for all Classrooms." Encounters in Theory and History of Education 11 (November 28, 2010): 13–23. http://dx.doi.org/10.24908/eoe-ese-rse.v11i0.3167.
Full textAbstract:
The challenge for arts educators is to find language and conceptual framings for visual art education that resonate with the transformative and literacy aims of mainstream education and position visual learning as essential. The unique value of visual knowing is now an imperative in our ocularcentric culture where new technologies, consumerism and unprecedented mobility impacts on all students in the twenty first century. Visual creative adaptability and its culturally located critical and generative understandings draw from our sense-rich world of human experience. Grounded in the theories of communicative knowing (Habermas,1976), becoming as the experience of performing self (Deleuze, 2001, 2004), experience and creativity as personal agency (Semetsky, 2003) and informed by socio-cultural inquiry, visuality and art practice as research (Sullivan, 2005) the research connects explicitly to socio-cultural values. This paper presents a conceptual model of Visual Embodied and Performative Pedagogy as a renewed language for visual arts education. It is grounded in material embodied practices, socio-cultural learning and identities understanding as they emerge in an ethico-aesthetic learning space that contributes to participatory democracy.
The paper argues that the embodied and performative visual experience is central to personal socio-cultural inquiry and subjectivity insights. The paper will foreground the theoretical arguments for Visual Embodied and Performative Pedagogy of self with empirical Australian visual education research, between 2004-2007 (Dinham, Grushka, MacCallum, Brown, Wright, & Pasco, 2007; Grushka, 2009). It centers the significance of images in society and the need for all students to develop visual communicative competencies. The benefits of socially embedded and embodied visual inquiry are argued. In so doing it calls into question the illustrative and often secondary role afforded to visual communicative proficiency found in visual arts education and its related learning outcomes. It argues that it is an essential way of knowing for the mediation of ideas and feelings in the new image oriented society.
32
Howard, Patrick, Chris Ryan, and Ian Fogarty. "“What’s the Big Idea?” A Case Study of Whole-School Project-Based Instruction in Secondary Education." Special Issue - Articles 55, no. 3 (November 9, 2021): 619–40. http://dx.doi.org/10.7202/1083425ar.
Full textAbstract:
This paper presents the results of an inquiry into a creative, whole-school integrative learning project that started with posing a ‘big question’. Data were generated to deepen understanding regarding the effects of implementing creative project-based learning Hi on student lived experience and student attitudes toward learning. Research on project-based approaches is required to reflect the current contextual realities specific to high schools. The focus on integrative and arts-based approaches as they relate to high school classrooms indicate that secondary education lags in comparison to elementary and middle grades. The findings presented here provide the possibility of a more informed, attentive, action-sensitive professional practice in the development of educational experiences designed to influence the learning experiences of secondary students.
33
Schwind, Jasna K., Elaine Santa-Mina, Kateryna Metersky, and Erica Patterson. "Using the Narrative Reflective Process to explore how students learn about caring in their nursing program: an arts-informed Narrative Inquiry." Reflective Practice 16, no. 3 (May 4, 2015): 390–402. http://dx.doi.org/10.1080/14623943.2015.1052385.
Full text
34
O’Toole, John. "The basic principles of a socially just arts curriculum, and the place of drama." Australian Educational Researcher 48, no. 5 (October 8, 2021): 819–36. http://dx.doi.org/10.1007/s13384-021-00480-6.
Full textAbstract:
AbstractThis paper provides a descriptive historical analysis of the planning and writing of the Australian Curriculum: The Arts which occurred from 2009 to 2013. This process involved extensive consultation across a range of stakeholders, including curriculum research, background reading and analysis that preceded the Australian Curriculum, Assessment and Reporting Authority’s writing process. The curriculum itself was underpinned by a range of democratic principles, including the importance of developing a socially just curriculum. This necessitated extensive discussion which interrogated the terms excellence and equity to ensure a high-quality arts education was accessible for all students, regardless of their background. The implementation of these principles is then explored through the perspective of the Drama writing team, including the importance of the subject Drama in developing a sense of inquiry and empathy in students by exploring their own and others’ stories and points of view. The final curriculum document for the Arts, and specifically for Drama exemplifies the importance of these social justice principles in responding to the Melbourne Declaration on Educational Goals for Young Australians (2008) which advocates for equity and excellence in Australian schooling and for all young Australians to become successful learners, confident and creative individuals and active and informed citizens.
35
Snowber, Celeste. "Dancers of Incarnation." Thème 25, no. 1 (January 7, 2019): 125–38. http://dx.doi.org/10.7202/1055243ar.
Full textAbstract:
In poetic, sensuous and visceral language this article explores how one liturgical dance artist, whose work as a dancer and educator was centered in dance and theology for decades was informed by an incarnational theology to break open a field of embodied inquiry now situated outside the field of theological studies. The article is in itself a dance consisting of five movements which trace the journey of a liturgical dance artist from theology to doxology, embodied prayer and embodied inquiry to dancing in nature as a cathedral. Here in creating and performing site-specific work in the natural world, all of living and being is an embodied expression of spirit. Attention is given to the Biblical foundation of bodily expression and wisdom, moving to the fields of arts-based research rooted in phenomenology and curriculum theory to open up an embodied and poetic scholarship. Here writing is artistic and scholarly, personal and universal, evoking a physicality through the senses where connections between the holy and ordinary are honoured. Dance, movement and the body are rooted in incarnational and poetic expression and represent a philosophy through the flesh where physicality and spirituality are deeply intertwined.
36
Chandler, Amy, and Zoi Simopoulou. "The Violence of the Cut: Gendering Self-Harm." International Journal of Environmental Research and Public Health 18, no. 9 (April 27, 2021): 4650. http://dx.doi.org/10.3390/ijerph18094650.
Full textAbstract:
Taking as a starting point the frequent characterisation of self-harm as “an adolescent thing for girls,” this paper offers a sociologically informed, qualitative exploration of self-harm as a gendered practice. We move beyond statistical constructions of this “reality,” and critically examine how this characterisation comes to be, and some of its effects. Our data are drawn from a pilot study that developed a collaborative arts-based inquiry into meanings of self-harm. The authors worked with two groups: one of practitioners and another of people who had self-harmed, meeting over six sessions to discuss and make art in response to a range of themes relating to the interpretation and explanation of self-harm. Through data generation and analysis, we collaboratively seek to make sense of the gendering of self-harm, focusing on a series of dualistic Cartesian “cuts” between male and female, violence and vulnerability, and inside and outside. In conclusion, we call for more multi- and interdisciplinary explorations of self-harm, and greater use of diverse, arts-based, and qualitative methodologies, in order to further expand and nuance understandings and ethical engagements with self-harm, and those who are affected by it.
37
Nelson, Elizabeth L., Mia Perry, and Theresa Rogers. "Introducing Offlineness: Theorizing (Digital) Literacy Engagements." Journal of Literacy Research 52, no. 1 (January 25, 2020): 101–7. http://dx.doi.org/10.1177/1086296x19898003.
Full textAbstract:
In this Insights essay, we propose a new concept of offlineness that builds on current language around digital practices, yet addresses an element of young people’s experience that is not adequately represented in current research or educational discourse. This work is informed by a recent cross-national arts-based research project that highlighted the limitations of the discourse ascribed to the nature of young people’s engagement with digital literacies. We propose a (re)theorization, which builds on a critical review of current conceptual research and digital commentaries. Theorizing offlineness as a continuum between online and offline practices is tantamount to a paradigm shift toward more nuanced understandings of young people’s digital practices. It offers researchers and educators a more precise way to speak to young people’s digital experiences, providing a productive tool to (re)construct learning and inquiry spaces in literacy research and education.
38
Enciso, Patricia, Brian Edmiston, Allison Volz, Bridget Lee, and Nithya Sivashankar. "“I’m trying to save some lives here!”." English Teaching: Practice & Critique 15, no. 3 (December 5, 2016): 333–54. http://dx.doi.org/10.1108/etpc-03-2016-0050.
Full textAbstract:
Purpose The purpose of this paper is to illustrate the plans for and implementation of critical dramatic inquiry with middle school youth. The authors also provide a theoretical frame for understanding dramatic inquiry as an embodied, persuasive and reflexive practice that can inform and transform the ways youth and their teachers experience their own and others’ worlds. Throughout, the authors argue for the centrality of imagination in youth literacies and critical inquiry. Design/methodology/approach Working with Stetsenko’s (2008) concepts of contribution and agency, the authors considered the different ways youth “found [their] place among other people and ultimately, [found] a way to contribute to the continuous flow of sociocultural practices” (p. 17). Further, the authors considered Stetsenko’s (2012) reference to moral philosophy and the idea that “humans are understood as being connected with the world precisely through their own acts – through what has been termed “engaged agency” in moral philosophy (Taylor, 1995, p. 7)”. The authors read and annotated documents, noting key moments in the videos where youth collaborated in “finding a place among other people” and became “connected with the world […] through their own acts”. Findings The authors identified three ways dramatic inquiry orients youth in time-space, offering addresses and possibilities for answerability that direct their actions toward critical, ethical questions: creating a life through embodied positioning, reflecting on action through transformation of representations and establishing a direction for one’s own becoming through persuasion and answerability. These three modes of contributing to a dramatic inquiry extend current research and thought about drama by pointing to specific contributions to and purposes for action in drama experiences. Research limitations/implications This work represents a single two-session workshop of teacher research with middle school youth engaged in dramatic inquiry, and is, therefore, the beginning of a conceptual framework for understanding dramatic inquiry as critical sociocultural practice. As such, this work will need to be developed with the aim of extending the dramatic inquiry work across several days or weeks, to trace youth insights and subsequent actions. Practical implications Critical literacy educators who want to implement dramatic inquiry will find clear descriptions of practices and an analytic framework that supports planning for and reflection on social change arts-based experiences with youth. Social implications The authors argue that educators who aim to support youth actions, in relation to multiple viewpoints and possible futures, need to pose imagined and dramatized addresses to which youth can imagine and embody possibilities and express possible answers (Bakhtin). Based on Stetsenko’s transformative activist stance, the authors argue that drama-based experiences disrupt the everyday so youth may collectively explore and contribute to an emerging vision of equity and belonging. Originality/value Few studies have engaged Stetsenko’s transformative activist stance as a way to understand learning, social change and the role of imagination. This study describes and explores a unique instantiation of process drama informed by critical sociocultural theory.
39
Campbell, Cary. "Toward a Pedagogy of Firstness." Chinese Semiotic Studies 14, no. 1 (February 23, 2018): 71–102. http://dx.doi.org/10.1515/css-2018-0005.
Full textAbstract:
AbstractThis paper examines how the Peircean category of Firstness can illuminate pre-cognitive and pre-interpretative aspects of learning. This study can be understood as part of a broader edusemiotic project currently gaining momentum (cf. Semetsky (ed.) 2010, 2017; Stables and Semetsky 2014; Olteanu 2015). I explore various iterations of Peirce’s thought, from his early Lowell Lectures (1866) to what Strand (2013) has called his “rhetorical turn” following the introduction of the concept ofsemiosisin 1883. My contention is that engagement in arts-based processes is educationally useful in inducing and cultivating reflection on those primary aspects of consciousness that are often neglected by formal educational programs. My aim here is to explore what stimulates engaged absorption and examine how this can be applied to form an “education of inquiry” informed by Peirce’s pragmatism, which places contemplation on this pre-interpretative realm of meaning in a central role. In conclusion, the paper will show how an understanding of Firstness is necessary for understanding Peirce’s aesthetics, and thus his ethics, which depends upon the “habits of feeling” emerging from Firstness. Thus, we can understand how the cultivation of a “pedagogy of Firstness” is foundationally an ethical educational program.
40
Jones, Stephanie, and James F. Woglom. "Teaching Bodies in Place." Teachers College Record: The Voice of Scholarship in Education 115, no. 8 (August 2013): 1–29. http://dx.doi.org/10.1177/016146811311500806.
Full textAbstract:
Background/Context This piece draws on literature in justice-oriented teacher education, feminist pedagogy, and postmodern notions of bodies and place to make sense of data generated from a three-year study of an undergraduate teacher education course. A feminist lens was used to engage a body- and place-focused pedagogy that aimed to engage students in recognizing themselves as full-bodied and cultured beings who can work to better understand and expand their perceptions of themselves and others in place. Purpose The authors argue that postmodern theories of bodies and place can provide complex insights for both theorizing and practicing teacher education. Readers have the opportunity to experience alternative community-based teacher education practice through a graphic presentation and consider both the theoretical and practice implications in the broader field of education. Research Design This three-year study is an arts-based qualitative inquiry into the experiences of a course where feminist and postmodern notions of bodies and place informed the pedagogical decision-making of their professor (Stephanie Jones). Data were generated across three years and those focused specifically on or around the community bus ride were used to ask questions about how bodies and places interact with one another to produce sense-making about people, places, and the purposes of education. As part of the inquiry, Stephanie produced visual images in comics-form presenting pedagogical interactions and experiences that illuminated theoretical insights and then engaged Jim in conversations and sketch-sharing about theory and practice related to the data and how it was experienced in real-time by Stephanie. After numerous conversations looking over each panel and analytical discussions about bodies, place, and pedagogies as they were produced on the page and multiple revisions of both images and print text, Stephanie and Jim settled on the graphic production published here as both a representation of the research and a provocation for reimagining teacher education practice and scholarship. Conclusions The study is an example of how pedagogies informed by theoretical understandings of bodies and place can produce practices that help teacher education students recognize their bodies as central sites for critical change inside and outside institutions. Tending to, documenting, and discussing their bodily-ways-of-being in different places and how bodies/places produce perceptions of others were powerful practices that helped students think deeply about power and their roles as future teachers.
41
Lindgren, Christina. "Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 201–15. http://dx.doi.org/10.1386/scp_00047_1.
Full textAbstract:
Reflection and discussion on ‘how’ costume performs seems to be at the centre of inquiry of the research within the field of costume design, as presented at the Critical Costume conferences and the journal Studies in Costume and Performance. In various ways, costumes play an important role in most performances, a costume ‘does’ things, it performs and has agency. In recent years, we have experienced an increasing number of performances where costume acts as the starting element for a performance and, more often, we hear of costume designers instigating and leading creative processes in making performances. Costume-generated performances are about to be considered an established genre. This research report aims to share some ‘tools’ that form a methodological framework ‐ a toolbox ‐ for generating performance with costume design as a starting point. The examples are drawn from my professional practice, informed by work undertaken in workshops held in the frame of the artistic research project ‘Costume Agency’ (2018‐21), which I have been leading in collaboration with dramaturg and curator Sodja Lotker. I have found useful concepts in new materialism, as a critical framework that has opened up a new understanding of how humans and non-human actors interact and have adapted them for my use as a costume designer, director and researcher. The tools I focus on here are the following three: notions of ‘agency’ in the context of costume design; the concept of ‘situated knowledges’; and ‘visual dramaturgy' from the performing arts theory. These tools have proven to be useful in the processes of generating performance from the costume in my own practice and are offered in this research report to the wider community of costume researchers for further debate and development.
42
Bailey, Cathy, Natalie Forster, Barbara Douglas, Claire Webster Saaremets, and Esther Salamon. "Housing voices: using theatre and film to engage people in later life housing and health conversations." Housing, Care and Support 22, no. 4 (December 5, 2019): 181–92. http://dx.doi.org/10.1108/hcs-04-2019-0011.
Full textAbstract:
Purpose Quality, accessible and appropriate housing is key to older people’s ability to live independently. The purpose of this paper is to understand older people’s housing aspirations and whether these are currently being met. Evidence suggests one in five households occupied by older people in England does not meet the standard of a decent home. The Building Research Establishment has calculated that poor housing costs the English National Health Service £1,4bn annually (Roys et al., 2016). Design/methodology/approach This paper reports on the findings of a participatory theatre approach to engaging with those not often heard from – notably, those ageing without children and older people with primary responsibility for ageing relatives – about planning for housing decisions in later life. The project was led by an older people’s forum, Elders Council, with Skimstone Arts organisation and Northumbria University, in the north east of England. Findings Findings suggest there is an urgent need to listen to and engage with people about their later life housing aspirations. There is also a need to use this evidence to inform housing, health and social care policy makers, practitioners, service commissioners and providers and product and service designers, to encourage older people to become informed and plan ahead. Research limitations/implications Use of a participatory theatre approach facilitated people to explore their own decision making and identify the types of information and support they need to make critical decisions about their housing in later life. Such insights can generate evidence for future housing, social care and health needs. Findings endorse the recent Communities and Local Government (2018) Select Committee Inquiry and report on Housing for Older People and the need for a national strategy for older people’s housing. Originality/value Although this call is evidenced through an English national case study, from within the context of global population ageing, it has international relevance.
43
Fidyk, Alexandra, Mandy Krahn, Vessela Balinska-Ourdeva, Karen Jacobsen, and Alison Brooks-Starks. "TRAUMA-SENSITIVE PEDAGOGY & PRACTICE NEWSLETTER 1 (OF 2)." Art/Research International: A Transdisciplinary Journal 5, no. 2 (October 1, 2020): 452–60. http://dx.doi.org/10.18432/ari29582.
Full textAbstract:
This publication includes the first of two newsletters published in this issue of Art/Research International. This second newsletter is followed by a commentary and references for both newsletters.
Attentive to local and global mental health realities and the emergent need to provide intercultural mental health perspectives, resources, and methods that work across cultures in school contexts, I (the first author) conducted a participatory poetic inquiry, “Image, Body, and Voice: Supporting Girls’ Sense of Wellbeing,” with grade-6 girls in an inner-city school in Alberta. It sought to: (i) meet new Teacher Quality Standards (TQS) “to build positive and productive relationships with students [and] peers” (AB Education, 2018, p. 4); and (ii) be “aware of and facilitate responses to the emotional and mental health needs of students” (p. 6). I was guided by the following research question: In what ways might girls’ experiences with art-integrated activities and body-centred methods inform educators about pedagogical practice and mental health interventions?
Findings indicated the transdisciplinary praxis that emerged—arts-based, contemplative and somatic methods—enhanced the girls’ sense of self and wellbeing. The youth reported that these activities had explicit value: sharing circles used for check-ins and - outs, ceremony—which welcomed witnessing—relational and body-centred practices, and one-on-one time with the PI. The life-size body maps as research creation illustrated that the participants learned to externalize sensations and emotions in a safe way, aiding them in the development of skills needed for emotional self-regulation. Body maps broadly defined are life-size body images, while body mapping is the process of creating body maps using collage, photography, painting, or other arts-integrated methods to visually symbolize aspects of people’s lives, their bodies, and their worlds.
Funding from Research Impact Canada, VP Research & Innovation University of Alberta and the Kule Institute for Advanced Study aided to mobilize evidence-informed knowledge from this research through professional community engagement with pre- service teachers at a full-day workshop. Presenters at the workshop were members of a Community of Professional Practice (COPP) where the activities of educational research and trauma-sensitive practices were shared, including culturally aware methods for diverse populations. This newsletter reflects one of two events and two research creation artifacts provided as follow up to the attendees.
44
D'Amato, Alison. "Movement as Matter: A Practice-Based Inquiry into the Substance of Dancing." Dance Research Journal 53, no. 3 (December 2021): 69–86. http://dx.doi.org/10.1017/s0149767721000346.
Full textAbstract:
AbstractThis article approaches dance through the lens of new materialist theories (speculative realism, object-oriented ontology, thing theory, posthumanism, etc.), considering the possibility that objecthood need not align with inertness and movement need not be excluded from the realm of the substantive. Deploying a practice-based methodology informed by participation in works by Simone Forti and Maria Hassabi, as well her own movement investigation, the author considers theoretical positions that counter the persistent association of dance with ephemerality while also broadly questioning the relationship between dance and theory.
45
Liska, Suzanne. "Somatic ethnographic research: A choreographic process informed by Alexander Technique." Choreographic Practices 11, no. 1 (July 1, 2020): 75–99. http://dx.doi.org/10.1386/chor_00013_1.
Full textAbstract:
I write from the perspective of a dance artist interested in reflecting on and sharing my experiences of applying the Alexander Technique (AT) to a choreographic process. The inquiry was framed by dance ethnography, and I choreographed, danced, interviewed and performed with emerging to established dance artists specializing in Contact Improvisation, and interviewed and participated in lessons and workshops with AT teachers. During each phase of the research, I asked: why and how does AT guide me to embody my practice as a choreographer and dancer? This self-ethnographic research outlines an AT-inspired dance methodology using a systematic somatic process to enhance physical, mental and emotional coordination for choreographers and dancers. I propose that AT expanded my attention moment-to-moment to develop my choreographic intentions and desires.
46
Walters, Roger J. "Informed, well-ordered and reflective: design inquiry as action research." Design Studies 7, no. 1 (January 1986): 2–13. http://dx.doi.org/10.1016/0142-694x(86)90002-5.
Full text
47
Hafertepe, Kenneth. "An Inquiry into Thomas Jefferson's Ideas of Beauty." Journal of the Society of Architectural Historians 59, no. 2 (June 1, 2000): 216–31. http://dx.doi.org/10.2307/991591.
Full textAbstract:
A careful reading of eighteenth-century aesthetics provides a view of Thomas Jefferson's thinking about art and architecture quite different from the existing scholarly paradigm. Jefferson owned, read, and quoted Enlightenment philosophy and criticism, most notably that of Henry Home, known as Lord Kames. Far from privileging reason over emotion, these philosophers held that all people are created with innate senses of beauty and morality, as well as a rational faculty. Because of the sense of beauty, certain qualities in objects can inspire the idea of beauty in the mind; other ideas of beauty are comparative, requiring use of the rational faculty. Jefferson's aesthetic theory was informed by his understanding of the human mind, which led to an architecture rooted in good proportion and to didactic paintings rooted in history ancient and modern. As with other Enlightenment thinkers, Jefferson endorsed the entire classical tradition, admiring not only the architecture of ancient Rome and modern Paris but also of Palladio and the French Baroque. Similarly, he admired the work of minor Baroque painters as well as the neoclassicism of Jacques-Louis David. Nor was Jeffersonian classicism nationalistic; rather, he endorsed the Enlightenment concept of a universal and uniform standard of taste.
48
Shabtay, Abigail, Mindy R. Carter, and Hala Mreiwed. "A dramatic collage: becoming pedagogical through collaborative playbuilding." Qualitative Research Journal 19, no. 4 (November 11, 2019): 403–14. http://dx.doi.org/10.1108/qrj-02-2019-0020.
Full textAbstract:
PurposeThe purpose of this paper is to explore a case study of a group of preservice teachers that took part in a playbuilding process as part of a drama education course at a Canadian University. The paper focusses on ten preservice teachers’ creation in original theatrical production,The Teacher Diaries: a collage of stories based on the preservice teachers’ lived experiences as teacher candidates. Through a discussion of the playbuilding process, the techniques used, and an analysis of three scenes, this paper addresses the question: How can playbuilding and performance help preservice teachers “become pedagogical”?Design/methodology/approachThe paper focusses on ten preservice teachers’ creation in original theatrical production,The Teacher Diaries: a collage of stories based on the preservice teachers’ lived experiences as teacher candidates. Through a discussion of the playbuilding process, the techniques used, and an analysis of three scenes, this paper addresses the question: How can playbuilding and performance help preservice teachers “become pedagogical”?FindingsThe primary understanding that emerged from this research was how playbuilding can be used as a holistic participatory research method in which participants conduct research, analyse, thematise, implement and disseminate data throughout the creative process.Research limitations/implicationsAs researchers of this playbuilding process, the authors have come to realise that when using playbuilding as a method for research and arts creation there is an overlapping of understanding and analysis of the research findings that is a continual part of the research process. Rather than simply collecting data, analysing it and drawing conclusions from the previously identified data, the whole process becomes a research experience. As seen above, participants were continually coming up with insights throughout the process that informed the creation, growth and change of their scenes so that they could create a final product.Practical implicationsDrawing on a case study of ten preservice teachers, and their original performance pieceThe Teacher Diaries, this paper set out to determine how the playbuilding process can be used to help preservice teachers develop pedagogically. Several scholars have already noted that creating collaborative theatre is a reflective, inquiry-based process (Belliveau, 2006; Cahill, 2006; Carteret al., 2011; Conrad, 2004; Goldstein, 2008), and that the creation and performance of live theatre allows participants to interact with audiences in ways that written material cannot (Norris, 2000, 2008).Social implicationsThroughout the playbuilding process, the preservice teachers engaged in storytelling, improvisation, reflection and dialogue. Working collaboratively, the preservice teachers were able to identify similarities in their experiences and develop a supportive community where they could share stories and resources (see Mreiwedet al., 2017 for more discussion of community development through drama).Originality/valueBecause of this, the members of Team Awesome were inspired to create a pamphlet (including tips and links to government and other online resources) to share with their peers following the performance. While this was simply one case study, the results of this study indicate that the playbuilding process has great potential for use in helping educators “become pedagogical” through collaboration, reflection, articulation of needs, community-building and the sharing of resources in preservice teacher education.
49
Gough, Noel, and Chessa Adsit-Morris. "Troubling the Anthropocene: Donna Haraway, Science Fiction, and Arts of Un/Naming." Cultural Studies ↔ Critical Methodologies 20, no. 3 (November 14, 2019): 213–24. http://dx.doi.org/10.1177/1532708619883311.
Full textAbstract:
This article takes Donna Haraway’s Staying With the Trouble: Making Kin in the Chthulucene as a point of departure for troubling the largely uncontested acceptance of the Anthropocene as a matter of scientific “fact.” Our approach is informed by our methodological commitments to understanding writing as a mode of inquiry and our preference for diffraction (rather than reflection) in conceptualizing practices of reading and critique. The article is therefore organized around questions that Haraway’s text provokes, and our responses to them. We draw on various sources, including selected science fiction (SF) texts, to trouble practices of naming geological epochs and also to trouble some of the assumptions that Haraway makes in offering “Chthulucene” as an alternative name for our present epoch.
50
Giardina, Michael D., and Norman K. Denzin. "Acts of Activism ↔ Politics of Possibility." Cultural Studies ↔ Critical Methodologies 11, no. 4 (July 21, 2011): 319–27. http://dx.doi.org/10.1177/1532708611414657.
Full textAbstract:
This article examines the context of political life in the United States during the Barack Obama administration, especially as related to right-wing assaults on a progressive political agenda. It also presents an argument for a new performative cultural politics; that is, an interventionist project informed by and committed to acts of activism in the pursuit of a politics of possibility. It concludes by outlining the prevailing lines of inquiry organizing such a project of the critical imagination: that of theory, politics, and performance.