Art Education Commons^™

Participatory Photography As A Creative And Collaborative Tool In Teaching Peace Education, Rodgen M. Jabor

Peace and Conflict Studies

Peace and education are inseparable. Grounding on the aforementioned premise, peace education has become part of the curriculum in a number of countries including the Philippines. Along with the inclusion of peace education was the challenge of how to provide responsive and meaningful learning experiences in peace education. This article discusses the attempt of the use of participatory photography as a teaching methodology. Ten pre-service teachers participated in a peace education class that trialed the use of participatory photography as a teaching approach guided by a manual that was developed by the researcher. Through conducting a focus group discussion, and …

Teaching Philosophy As A Pedagogic Practice-Ing: Are You The Type Of Person That Says, “Everything Happens For A Reason”?, Valerie Oved Giovanini Ph.D.

Artizein: Arts and Teaching Journal

In this paper, I discuss a classroom activity that was intended to create an environment attentive enough for students to scrutinize whether their touted beliefs matched their implicit assumptions. Drawing upon Emmanuel Levinas’s ethics of the face-to-face relation, Carol A. Taylor’s posthuman orientations for pedagogical practice-ings, and Bickel’s and Fisher’s emergent theory of art-care, I explore my pedagogical approach in teaching philosophy to explain how affective encounters in communitas between teacher and learners can expand personal understandings and imagine new meaningful possibilities together. These affective encounters serve an ethic of concern where each is capable of a unique response and …

Building A Pedagogy Of Idea Generation And Embodied Inquiry, Kate Joranson

Art History Pedagogy & Practice

What futures become possible when we center questions, inquiry, and affective responses in research processes? What does it mean to support encounters with new ideas? In this article, I explore non-extractive models of teaching and learning, sharing ways of making space for idea generation, an under-described part of research and creative practice. The coming-up-with-ideas part of creative and scholarly work can be challenging to articulate, share, and teach. What if we paused and stretched this part out, making it more visible? By browsing physical collections of books in community with one another, during “curated browsing” experiences, we give ourselves — …

Ungrading In Art History: Grade Inflation, Student Engagement, And Social Equity, Lauren Disalvo, Nancy Ross

Art History Pedagogy & Practice

Traditional academic pedagogies require that professors assign students grades in a system that creates hierarchies of power of professor over student. This system assumes that grades serve as an intrinsic motivator for students to improve in an academic setting. Many studies suggest that professor-assigned grades do not function as assumed. This article explores one alternative to the traditional system, known as ungrading, a practice whereby students assign themselves grades after a semester of frequent feedback and reflective assignments. This study offers a thematic literature review of ungrading in many disciplines and a small study of ungrading in upper-division art history …

Art Education As Mutual Aid: Community And Social Justice Based Initiatives, Janelle O'Malley

Student Projects

In the wake of the COVID-19 pandemic, education has drastically changed. The months of pandemic coupled with rising political upheaval left issues with schooling at the bottom of the list. Yet, the repercussions of the pandemic have forever changed the face of our educational system. Especially hard hit during this time was subjects deemed unimportant such as music and art. These classes, which already have faced their fair amount of cutbacks, were once again left on the chopping block. Even though the Every Student Succeeds Act (ESSA) in 2015 ensured that art would be treated as a core subject, it …

You Belong Here: A Critical Look At Community Engagement In Museum Education Through K-16 Place Based Pedagogy, Janelle O'Malley

Student Projects

Historically museums exist as object centered spaces with little consideration of the community and artists that support them. Therefore museums as pedagogical sites must reorient themselves to become people centered spaces incorporating participatory pedagogical experiences for both community members and artists.

There is a lack of research in place-based pedagogies in museum education. It is important now more than ever to recognize the need to center community in museum education. This study will seek to investigate how museums can exact meaningful change through their educational practices and create a sense of belonging in museums for their immediate community. The outcomes …

Making The Journey Personal: A Self-Study Of The Intersections Of Curriculum, Practice, And Identity, Patricia J. Tinsman-Schaffer

Education Doctorate Dissertations

The Obama's unveiled their official portraits for the National Portrait Gallery in 2018, forever changing the presidential tone by being the first portraits of Black Americans in these roles but also because they selected two Black artists to depict them, Kehinde Wiley and Amy Sherald. As a White woman, secondary school art educator of diverse students, I witnessed this event as a significant moment in time. Discussing what was immediately visible: portraiture, compositional formats, and use of pattern, but I was unsure how to connect the layered meanings of each portrait. As a veteran teacher, I had implemented different curricula …

Reaching Across Community Lines: How Informal Visual Art Educational Programming Bridges The Gap, Janelle O'Malley

Student Projects

Economic disparity in underserved communities is in large part responsible for a lack of access to quality visual arts education. The communities most in need are often hit first when it comes to funding the arts, and the students suffer these financial consequences. How can we ensure those underserved communities receive a complete education with the visual arts? What other ways can access to the visual arts be provided to schools?

Teaching And Learning Anthropology In The Museum: Developing An Exhibit With The Ignatian Pedagogical Paradigm, Catherine Nichols

Anthropology: Faculty Publications and Other Works

Elements of the Ignatian Pedagogical Paradigm (IPP), or teaching and learning in the Jesuit tradition, can be successfully integrated into both formal anthropology courses, as well as informal environments such as museum exhibits in order to advance anthropological pedagogy. This article discusses how I integrated the IPP into the design of an anthropology course on museum exhibit development, and within the exhibit itself. Students benefitted from direct activities such as opportunities to study and interpret material culture, and were asked to reflect on the experience of applying their anthropological knowledge and interests in a public venue. Visitors to the exhibit …

Journey To Refuge: Understanding Refugees, Exploring Trauma, And Best Practices For Newcomers And Schools, Trina D. Harlow

NPP eBooks

Pre-K through 12th grade schools within the United States have become much more diverse in recent years. Schools are now commonly not only diverse because of diverse students born in the United States, but also have many immigrant students. A growing number of these immigrant students are resettled children who have refugee status. In schools, these recent immigrants are called newcomers. This book is a culmination of research and anecdotal experiences regarding the refugee issue as it pertains to these students in American schools and schools elsewhere in the world. Scholars, policy makers, educators, those who work in the refugee …

New Identities New Voices: Introducing The Choreographer-Notator, Beth Megill

Journal of Movement Arts Literacy Archive (2013-2019)

In this practitioner’s perspective paper, the author discusses an experience in which she notated a piece of her choreography using a combination of Labanotation and Motif Notation with the intent of setting the repertory from the score on a group of contemporary dancers, who had never read notation before. She explains her goals as a choreographer and notator proposing a fused creative identity, the Choreographer-Notator. This paper describes how the process of drafting the score and then teaching from the score provided new insights into her work and her identity as a dance artist. The paper concludes with the demands …

Voices Of Notators: Approaches To Writing A Score--Special Issue, Teresa L. Heiland

Journal of Movement Arts Literacy Archive (2013-2019)

In this special issue of Voices of Notators: Approaches to Writing a Score, eight authors share their unique process of creating and implementing their approach to notating movement, and they describe how that process transforms them as researchers, analysts, dancers, choreographers, communicators, and teachers. These researchers discuss the need to capture, to form, to generate, and to communicate ideas using a written form of dance notation so that some past, present, or future experience can be better understood, directed, informed, and shared. They are organized roughly into themes motivated by relationships between them and their methodological similarities and differences. …

Teaching Critical Looking: Pedagogical Approaches To Using Comics As Queer Theory, Ashley Manchester

SANE journal: Sequential Art Narrative in Education

Given the challenging depth of queer theoretical concepts, this article argues that one of the most effective ways to teach the complexities of queer theory is by utilizing comics in the classroom. I focus on how college-level instructors can use the content, form, and history of comics to teach students how to enact and do queer theory. By reading and making comics, students learn concrete and theoretical tools for combatting oppressive discourses and modes of meaning making. Teaching comics as queer theory promotes both innovative critical thinking and critical looking skills by centralizing both the rich history of queer comics …

Pim Pedagogy: Toward A Loosely Unified Model For Teaching And Studying Comics And Graphic Novels, James B. Carter

SANE journal: Sequential Art Narrative in Education

The article debuts and explains "PIM" pedagogy, a construct for teaching comics at the secondary- and post-secondary levels and for deep reading/studying comics. The PIM model for considering comics is actually based in major precepts of education studies, namely constructivist foundations of learning, and loosely unifies constructs inherent therein with other available frames and frameworks for studying comics. As such, the article fills a dire need in the scholarly literature on comics pedagogy and paves a way for those who seek to teach comics courses in the future but who need direction and for those who seek to study/read comics …

Problem-Solving Pedagogy: A Foundation For Restructuring, Updating, And Improving Undergraduate Theory And Musicianship Curricula, Michael T. Simonelli

Masters Theses

The goal of this thesis is to provide the ideological and practical foundation for an improved approach to undergraduate theory and musicianship pedagogy. I will discuss the structure of conventional theory programs and explore problems inherent to traditional curriculum design. Problem-solving pedagogy, an approach rooted in creative composition and improvisation, will be presented as a complement to traditional theory pedagogy. Balancing problem-solving pedagogy with a more traditional pedagogical approach will provide a practical foundation for improving undergraduate theory and musicianship curricula.