The effect of drama-based pedagogies on K-12 literacy-related outcomes: A meta-analysis of 30 years of research. International Journal of Education & the Arts , 21 (30). Retrieved from Abstract A recent national report heartily supported arts integration as an effective, innovative, and cost-efficient way to address teachers’ and students’ needs; however, the report called for a better understanding of when, for whom, and what content areas are best served by arts integration methods. The effectiveness of drama-based pedagogy (DBP), a type of arts integration, has been assessed in previous meta-analyses; however, an updated meta-analysis is warranted. In the present report, we review and meta-analyze thirty years of accumulated research of the effects of drama-based pedagogies on literacy related student outcomes. The findings show a significant positive effect of DBP on achievement, attitudes, 21 st century skills, drama skills, and motivation. In particular, effects are more positive when DBP is led by a classroom teacher over multiple hours of instruction. Limitations and implications are discussed. Megan R. is an Professor Education where she teaches pre-service teacher literacy and special education methods courses. She teaches about using drama-based pedagogies with students with disabilities. She received her Ph.D. in Teaching and Learning from The Ohio State University and an M.A. in Children’s Literature from Hollins University. Her past experiences include numerous teaching opportunities where she utilized drama-based pedagogies to support her students’ literacy learning. Currently, her research focuses on children’s literature, disability studies, and literacy education.
{"title":"The Effect of Drama-based Pedagogies on K-12 Literacy-Related Outcomes: A Meta-Analysis of 30 Years of Research","authors":"B. Lee, P. Enciso, Megan Brown","doi":"10.26209/IJEA21N30","DOIUrl":"https://doi.org/10.26209/IJEA21N30","url":null,"abstract":"The effect of drama-based pedagogies on K-12 literacy-related outcomes: A meta-analysis of 30 years of research. International Journal of Education & the Arts , 21 (30). Retrieved from Abstract A recent national report heartily supported arts integration as an effective, innovative, and cost-efficient way to address teachers’ and students’ needs; however, the report called for a better understanding of when, for whom, and what content areas are best served by arts integration methods. The effectiveness of drama-based pedagogy (DBP), a type of arts integration, has been assessed in previous meta-analyses; however, an updated meta-analysis is warranted. In the present report, we review and meta-analyze thirty years of accumulated research of the effects of drama-based pedagogies on literacy related student outcomes. The findings show a significant positive effect of DBP on achievement, attitudes, 21 st century skills, drama skills, and motivation. In particular, effects are more positive when DBP is led by a classroom teacher over multiple hours of instruction. Limitations and implications are discussed. Megan R. is an Professor Education where she teaches pre-service teacher literacy and special education methods courses. She teaches about using drama-based pedagogies with students with disabilities. She received her Ph.D. in Teaching and Learning from The Ohio State University and an M.A. in Children’s Literature from Hollins University. Her past experiences include numerous teaching opportunities where she utilized drama-based pedagogies to support her students’ literacy learning. Currently, her research focuses on children’s literature, disability studies, and literacy education.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46081327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is the final version. Available on open access from Penn State Libraries Open Publishing via the DOI in this record
这是最终版本。可通过本记录中的内政部从宾夕法尼亚州立图书馆开放出版处获得
{"title":"My rocket: Young children's identity construction through drawing","authors":"Emese Hall","doi":"10.26209/IJEA21N28","DOIUrl":"https://doi.org/10.26209/IJEA21N28","url":null,"abstract":"This is the final version. Available on open access from Penn State Libraries Open Publishing via the DOI in this record","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43077582","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, we argue that drama can serve as an interconnecting method for climate change education. In this study, we elaborate the practice of drama and participation experiences through three drama workshops: 1) process drama work on the global, social, and individual aspects of climate change, 2) outdoor drama practice on relations to nature, and 3) reflections through drama practice. The human dimension IJEA Vol. 21 No. 19 http://www.ijea.org/v21n19/ 2 of the sustainability issues, conditions of interdependence, and collaboration were explored and manifested through the drama practices, which created frames for embodied, creative and cognitive dialogues between people with different perspectives. Being differently—as experienced through the embodied, collective, and creative practices of drama—seemed to promote experiences of interconnectedness, widen perspectives of sustainability, and motivate acting differently.
{"title":"Drama in Education for Sustainability: Becoming Connected through Embodiment.","authors":"Anna Lehtonen, Eva Österlind, Tuija Leena Viirret","doi":"10.26209/IJEA21N19","DOIUrl":"https://doi.org/10.26209/IJEA21N19","url":null,"abstract":"In this article, we argue that drama can serve as an interconnecting method for climate change education. In this study, we elaborate the practice of drama and participation experiences through three drama workshops: 1) process drama work on the global, social, and individual aspects of climate change, 2) outdoor drama practice on relations to nature, and 3) reflections through drama practice. The human dimension IJEA Vol. 21 No. 19 http://www.ijea.org/v21n19/ 2 of the sustainability issues, conditions of interdependence, and collaboration were explored and manifested through the drama practices, which created frames for embodied, creative and cognitive dialogues between people with different perspectives. Being differently—as experienced through the embodied, collective, and creative practices of drama—seemed to promote experiences of interconnectedness, widen perspectives of sustainability, and motivate acting differently.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44915416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article concerns how teaching artists, associated with the Swedish Royal Opera, provided aesthetic opportunities to students during a three-year school project. One intervention is scrutinized ...
{"title":"The Tale of Red Riding Hood and the Wolf as a Multi-literacy Tool for Reflection and Embodied Learning","authors":"Margareta Aspán","doi":"10.26209/IJEA21N18","DOIUrl":"https://doi.org/10.26209/IJEA21N18","url":null,"abstract":"This article concerns how teaching artists, associated with the Swedish Royal Opera, provided aesthetic opportunities to students during a three-year school project. One intervention is scrutinized ...","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46091300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Research claims that entrepreneurial skills and knowledge are important for the careers of musicians (Bennett, 2016; Breivik, Selvik, Bakke, Welde & Jermstad, 2015; Coulson, 2012). Alumni of higher music education (HME) report “a gap between the perceived importance of such [entrepreneurial] skills and their acquisition” (Miller, Dumford & Johnson 2017, p. 11). As a response, institutes of HME have integrated arts entrepreneurship education to help music students acquire these skills and knowledge to a greater extent (Beckman, 2005, 2007). Yet, specifically which entrepreneurial skills and knowledge (Lackeus, 2015) arts entrepreneurship education helps students acquire lacks empirical support and articulation. In this exploratory pilot study, I create, disseminate and use exploratory data analysis (Tukey, 1977) to understand the descriptive statistics of survey IJEA Vol. 21 No. 10 http://www.ijea.org/v21n10/ 2 responses from teachers and students of HME in Norway. Respondents rated the perceived importance and acquisition of a variety of skills and knowledge while considering students’ future careers. Students also reported to what extent they felt they learned entrepreneurship through their current study program. Consistent with previous research, the findings show a “gap between the perceived acquisition of skills and the importance of such skills” (Miller et al., 2017, p. 11) in HME. The largest gaps in this study are for the following specific skills and knowledge: sales/marketing, market/industry, financial, social media, and business planning. Additionally, as students report they felt they learned entrepreneurship to increasingly larger extents, this gap is closed and narrowed. This shared tendency between the increased extent of entrepreneurship learned by music students and the perceived increase in the acquisition of various skills and knowledge is new insight for the field. Implications for arts entrepreneurship practitioners are discussed in addition to some ideas for future in-depth research. Music Careers and Enforced Entrepreneurship Students in the performing arts will often have “portfolio” careers which consist of a neverending, self-managed series of simultaneous and overlapping employment engagements (Cawsey, 1995; Teague & Smith, 2015). These engagements vary according to the spectrum and diversity of employers, but also to the type of work undertaken. Musicians, for example, often maintain portfolio careers as music teachers, freelancers, and performers, in which they depend on a set of entrepreneurial skills to network, recognize opportunities, and maintain a livelihood (Bennett, 2016; Breivik et al., 2015; Coulson, 2012). Over 42 percent of surveyed musicians in Germany claim their career is made possible through self-employment (Dangel & Piorkowsky, 2006); musicians in Australia on average held more than one music industry role and often “don ́t know any musicians who do only one thing” (Bennett, 2007); over 90 percent of
研究表明，创业技能和知识对音乐家的职业生涯很重要（Bennett，2016；Breivik、Selvik、Bakke、Welde和Jermstad，2015；库尔森，2012年）。高等音乐教育校友（HME）报告称，“这种[创业]技能的重要性与他们的习得之间存在差距”（Miller，Dumford&Johnson，2017，第11页）。作为回应，HME的研究所整合了艺术创业教育，以帮助音乐学生在更大程度上获得这些技能和知识（Beckman，20052007）。然而，具体而言，艺术创业教育帮助学生获得哪些创业技能和知识（Lackeus，2015）缺乏实证支持和阐述。在这项探索性试点研究中，我创建、传播并使用探索性数据分析（Tukey，1977）来理解调查IJEA第21卷第10期的描述性统计数据http://www.ijea.org/v21n10/挪威HME教师和学生的2份回复。受访者在考虑学生未来的职业生涯时，对各种技能和知识的重要性和获取进行了评分。学生们还报告了他们觉得自己在多大程度上通过目前的学习项目学会了创业。与之前的研究一致，研究结果显示，在HME中，“感知的技能获取与此类技能的重要性之间存在差距”（Miller等人，2017，第11页）。本研究中最大的差距在于以下特定技能和知识：销售/营销、市场/行业、金融、社交媒体和商业规划。此外，随着学生们报告说，他们觉得自己在越来越大的程度上学会了创业，这一差距已经缩小。音乐专业学生学习的创业程度的提高和对各种技能和知识的获取的感知增加之间的这种共同趋势是该领域的新见解。除了对未来深入研究的一些想法外，还讨论了对艺术创业从业者的启示。音乐职业和强制创业表演艺术领域的学生通常会有“组合”职业，包括一系列无休止的、自我管理的同时和重叠的就业活动（Cawsey，1995；蒂格和史密斯，2015年）。这些工作因雇主的范围和多样性而异，也因所从事的工作类型而异。例如，音乐家通常以音乐教师、自由职业者和表演者的身份维持组合职业，在这些职业中，他们依靠一套创业技能来建立联系、识别机会并维持生计（Bennett，2016；Breivik等人，2015；库尔森，2012）。在德国，超过42%的受访音乐家声称他们的职业生涯是通过自营职业实现的（Dangel&Piorkowsky，2006）；澳大利亚的音乐家平均在音乐行业担任不止一个角色，并且经常“不认识任何只做一件事的音乐家”（Bennett，2007）；超过90%的英国音乐家从事第二职业；在丹麦，6%的音乐毕业生只从事表演工作，其中一半同时从事表演和教学工作（Traasdahl，1996）。自营职业和创作自己的作品意味着个人必须在高等音乐教育（HME）中使用超出“音乐学院模式”范围的各种技能，在HME中，培训的主要重点是教授“通过器乐技能教授音乐”（Orning，2017，第3页）。这种模式“狭隘且极其注重表演技巧”（Cutietta，2010，第13页）。如果音乐专业毕业生经常维持由拼凑的专业角色组成的组合职业，并在毕业后成为“强制企业家”，这可能会被认为是一个问题（Bennett&Bridgstock，2015，263）。Toscher:The Skills and Knowledge Gap 3 Arts Entrepreneurship Education由于“大多数艺术家在开始寻找工作时都会发现自己是默认的企业家”（Bennett，2009，第323页），可以理解为什么“专业发展的重要性越来越大是高等教育中艺术领域出现的最具活力的趋势之一。尤其是公共资助的机构越来越依赖创业精神，为学生的音乐生涯做准备”（Beckman，2005，第13页）。贝克曼在2005年首次写到这一趋势，后来进行了一项研究，绘制了至少37所提供艺术创业教育的美国高等教育机构的地图（Beckman，2007）。自那以后，美国艺术创业的融合程度有所提高：2016年，Essig和Guevara（2016）绘制了美国168所机构的372个课程图。美国以外的国家也提供艺术创业教育，如澳大利亚、德国、荷兰、挪威、，以及英国（Brandenburg，Roosen和Veenstra，2016；Pollard和Wilson，2013；Thom，2017；Toscher和Bjørnø，2019；Watne和Nymoen，2017）。 尽管如此，对于什么是艺术创业，以及它教授哪些特定的知识和技能，还没有达成共识。2005年，贝克曼在HME学习音乐创业，并写道，他们无法“就如何在这种环境下开设创业课程达成共识”（第13页）。八年后，White（2013）指出，美国仍然“没有认可机构正式认可的艺术创业成果”（第35页）。正如Essig和Guevara（2016）所描述的那样，这可能是因为它是一个“跨学科”；也可能是，因为艺术创业是特定于其所教授的经济、文化和教育背景的，这是Beckman（2007）倡导的一种背景方法。在任何一种情况下，教育机构似乎都实施了艺术创业教育，以回应他们的解释，即学生的职业生涯需要一些一般水平的创业技能，但这些具体的创业技能是什么，这是一个持续不断的问题。即使在更广泛的创业教育领域，也有各种各样的课程，“定义、教学方法不断变化，对理论和实践的重视程度各不相同”（第8页，Lackeus，2015）。在他们的论文《教育中的创业：什么、为什么、何时、如何》中，Lackeus将创业能力定义为“影响从事新价值创造创业工作的意愿和能力的知识、技能和态度”（第12页）。大多数此类教育的主要目标是让学生发展这些知识、技能和/或态度的水平，无论是在“关于创业、为了创业还是通过创业”的课程中（第10页）。然后，拉克乌斯从理论上阐述了这些特定的技能和知识，以及它们如何与更广义的创业技能和知识概念相联系，但缺乏支持这种关系的实证数据。IJEA第21卷第10期http://www.ijea.org/v21n10/4实证研究将这些创业技能和知识与提供艺术创业的教育和文化背景结合起来，并对其进行了进一步定义。在荷兰，Brandenburg等人（2016）确定了“艺术与技术专业学生最重要的六项创业技能”（第25页），并根据他们对掌握这些技能的贡献程度评估了商业建模方法的选择。Thom（2016）调查了来自英国和德国89所高等教育机构的208名美术讲师（他们也是在职艺术家），对艺术家的16项最“创业成功的关键技能”进行了排名（第3页）。Miller等人（2017）在《国际教育与艺术杂志》上发表了一项研究，来自美国高等教育机构的音乐教育校友对16种不同类别的技能和知识的职业重要性以及他们在音乐教育期间对这些技能和知识获得的看法进行了评分。他们发现：。。。这三个专业对商业和创业技能重要性的平均评分都很高，音乐表演专业的评分要高得多。音乐教师和管理人员应该关注技能获得感与这些技能在工作场所的重要性之间的差距。所有专业类型的音乐学生都需要更多地接触商业和创业技能，以便更好地为所在领域的后勤和实践工作做好准备。艺术经济的趋势表明，由于许多艺术家都是自营职业者，他们需要在营销、预算、税收和战略规划等创业经验方面得到直接指导（Haase&L
{"title":"The Skills and Knowledge Gap in Higher Music Education: An Exploratory Empirical Study","authors":"Ben Toscher","doi":"10.26209/IJEA21N10","DOIUrl":"https://doi.org/10.26209/IJEA21N10","url":null,"abstract":"Research claims that entrepreneurial skills and knowledge are important for the careers of musicians (Bennett, 2016; Breivik, Selvik, Bakke, Welde & Jermstad, 2015; Coulson, 2012). Alumni of higher music education (HME) report “a gap between the perceived importance of such [entrepreneurial] skills and their acquisition” (Miller, Dumford & Johnson 2017, p. 11). As a response, institutes of HME have integrated arts entrepreneurship education to help music students acquire these skills and knowledge to a greater extent (Beckman, 2005, 2007). Yet, specifically which entrepreneurial skills and knowledge (Lackeus, 2015) arts entrepreneurship education helps students acquire lacks empirical support and articulation. In this exploratory pilot study, I create, disseminate and use exploratory data analysis (Tukey, 1977) to understand the descriptive statistics of survey IJEA Vol. 21 No. 10 http://www.ijea.org/v21n10/ 2 responses from teachers and students of HME in Norway. Respondents rated the perceived importance and acquisition of a variety of skills and knowledge while considering students’ future careers. Students also reported to what extent they felt they learned entrepreneurship through their current study program. Consistent with previous research, the findings show a “gap between the perceived acquisition of skills and the importance of such skills” (Miller et al., 2017, p. 11) in HME. The largest gaps in this study are for the following specific skills and knowledge: sales/marketing, market/industry, financial, social media, and business planning. Additionally, as students report they felt they learned entrepreneurship to increasingly larger extents, this gap is closed and narrowed. This shared tendency between the increased extent of entrepreneurship learned by music students and the perceived increase in the acquisition of various skills and knowledge is new insight for the field. Implications for arts entrepreneurship practitioners are discussed in addition to some ideas for future in-depth research. Music Careers and Enforced Entrepreneurship Students in the performing arts will often have “portfolio” careers which consist of a neverending, self-managed series of simultaneous and overlapping employment engagements (Cawsey, 1995; Teague & Smith, 2015). These engagements vary according to the spectrum and diversity of employers, but also to the type of work undertaken. Musicians, for example, often maintain portfolio careers as music teachers, freelancers, and performers, in which they depend on a set of entrepreneurial skills to network, recognize opportunities, and maintain a livelihood (Bennett, 2016; Breivik et al., 2015; Coulson, 2012). Over 42 percent of surveyed musicians in Germany claim their career is made possible through self-employment (Dangel & Piorkowsky, 2006); musicians in Australia on average held more than one music industry role and often “don ́t know any musicians who do only one thing” (Bennett, 2007); over 90 percent of","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45892920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
José María Mesías-Lema, Tiffany López-Ganet, Guillermo Calviño-Santos
This article seeks to share the experience gained in the expository project Atmospheres for Educational Change, a curatorial proposal focused on education that took place at Normal, the cultural intervention space at the University of A Coruña, aimed at criticizing the position of contemporary art in education and society. Atmospheres reflected on the life and routines of individuals in collectivity. It invited IJEA Vol. 21 No. 6 http://www.ijea.org/v21n6/ 2 the spectator to an interaction between the aesthetic artificiality of the created environment and the naturalness of the sensations generated within. These were environments that invited discomfort, with artistic installations that functioned as social agitators—politically incorrect and educationally transformative.
{"title":"Atmospheres: Shattering the Architecture to Generate Another Educational Discourse in Art Education","authors":"José María Mesías-Lema, Tiffany López-Ganet, Guillermo Calviño-Santos","doi":"10.26209/IJEA21N6","DOIUrl":"https://doi.org/10.26209/IJEA21N6","url":null,"abstract":"This article seeks to share the experience gained in the expository project Atmospheres for Educational Change, a curatorial proposal focused on education that took place at Normal, the cultural intervention space at the University of A Coruña, aimed at criticizing the position of contemporary art in education and society. Atmospheres reflected on the life and routines of individuals in collectivity. It invited IJEA Vol. 21 No. 6 http://www.ijea.org/v21n6/ 2 the spectator to an interaction between the aesthetic artificiality of the created environment and the naturalness of the sensations generated within. These were environments that invited discomfort, with artistic installations that functioned as social agitators—politically incorrect and educationally transformative.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2020-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47762585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Looking for Empathy in Visual Encounters","authors":"Rachel Sinquefield-Kangas","doi":"10.26209/IJEA20N21","DOIUrl":"https://doi.org/10.26209/IJEA20N21","url":null,"abstract":"","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45181888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Facilitating collaborative creativity among children involves offering material resources that support collaborative and creative interactions. Popular views of tablets, such as the iPad, suggest that they are better suited to solitary game-playing or video-watching than to collaborative open-ended tasks. I explore this further through a social semiotic lens, applying the concepts of ‘semiotic resources’ and ‘affordances’ to develop a more nuanced understanding of what tablets have to offer in relation to children’s collaborative creativity. Through this lens, I compare observations of six pairs of 5-6 year old children engaged in a collaborative drawing task completed either on paper or on the iPad. I apply a thematic analysis to the children’s dialogue across 25 episodes (15 iPad, 10 paper) and the visual dimensions of their 41 drawings (23 iPad, 18 paper), and develop three interwoven themes: 1) attitudes to space, 2) momentum of the line and 3) pathways to representation. For each of these themes, I explore how the affordances of the iPad and/or the particular app feed into these aspects of the drawing process and the implications of this for children’s collaborative creativity. The analysis suggests that drawing on the iPad can be more responsive and less subject to personal planning than drawing on paper. I suggest that this difference is shaped by physical properties such as the touch-screen interface, but also emerges as a result of the cultural investment in drawing on paper as a form of ‘self-expression’, a notion that works to limit exploratory and collaborative engagement with the resources. Since participants were noticeably open to exploring new ideas together while drawing on the iPad, I argue that we need to reassess the potentials of touch-screen tablets to support tasks of collaborative creativity in educational contexts.
{"title":"Young Children Drawing Together on the iPad Versus Paper: How Collaborative Creativity is Shaped by Different Semiotic Resources","authors":"M. Sakr","doi":"10.26209/IJEA20N20","DOIUrl":"https://doi.org/10.26209/IJEA20N20","url":null,"abstract":"Facilitating collaborative creativity among children involves offering material resources that support collaborative and creative interactions. Popular views of tablets, such as the iPad, suggest that they are better suited to solitary game-playing or video-watching than to collaborative open-ended tasks. I explore this further through a social semiotic lens, applying the concepts of ‘semiotic resources’ and ‘affordances’ to develop a more nuanced understanding of what tablets have to offer in relation to children’s collaborative creativity. Through this lens, I compare observations of six pairs of 5-6 year old children engaged in a collaborative drawing task completed either on paper or on the iPad. I apply a thematic analysis to the children’s dialogue across 25 episodes (15 iPad, 10 paper) and the visual dimensions of their 41 drawings (23 iPad, 18 paper), and develop three interwoven themes: 1) attitudes to space, 2) momentum of the line and 3) pathways to representation. For each of these themes, I explore how the affordances of the iPad and/or the particular app feed into these aspects of the drawing process and the implications of this for children’s collaborative creativity. The analysis suggests that drawing on the iPad can be more responsive and less subject to personal planning than drawing on paper. I suggest that this difference is shaped by physical properties such as the touch-screen interface, but also emerges as a result of the cultural investment in drawing on paper as a form of ‘self-expression’, a notion that works to limit exploratory and collaborative engagement with the resources. Since participants were noticeably open to exploring new ideas together while drawing on the iPad, I argue that we need to reassess the potentials of touch-screen tablets to support tasks of collaborative creativity in educational contexts.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48387019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Project-based Integration of Contemporary Art Forms into Teaching Visual Arts to Primary School Students in the After-School Art Clubs","authors":"N. Blagoeva","doi":"10.26209/IJEA20N18","DOIUrl":"https://doi.org/10.26209/IJEA20N18","url":null,"abstract":"","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45012625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
, Abstract A four-month research period into the practice of free music improvisation in Brazil during February-June 2014 allowed intriguing insights into how musicians think about, play and teach the music practice that is referred to as ‘free improvisation.’ An overview of the term ‘free improvisation’ with some historical context on its development will be provided to aid the reader to better situate the ethnographic study of 50 Brazilian improvisers during 2014. The ethnography was carried out by the author who speaks fluent Portuguese, using a participatory action research (PAR) framework, with the main aim of enquiring whether or how the practice of free improvisation is taught in the Brazilian higher education system. The research was set at several higher education institutions in Brazil, which included the Federal University of Rio de Janeiro (UFRJ), The Universidade Federal do Estado do Rio de Janeiro (UNIRIO), The University of São Paulo (USP), The Federal University of Minas Gerais (UFMG), The Federal University of Bahia (UFBA), with two shorter, single day visits to The Federal University of Rio Grande do Norte in Natal (UFRN) and The Escola Livre de Música in Unicamp (ELM).
2014年2月至6月，在巴西进行了为期四个月的自由即兴音乐实践研究，让我们对音乐家如何思考、演奏和教授被称为“自由即兴”的音乐实践有了有趣的见解。“自由即兴”一词的概述及其发展的一些历史背景将帮助读者更好地定位2014年50名巴西即兴者的民族志研究。作者使用参与性行动研究(PAR)框架，使用流利的葡萄牙语进行民族志研究，其主要目的是询问巴西高等教育系统是否或如何教授自由即兴创作的实践。该研究在巴西的几所高等教育机构进行，包括里约热内卢联邦大学(UFRJ)、里约热内卢联邦大学(UNIRIO)、圣保罗大学(USP)、米纳斯吉拉斯州联邦大学(UFMG)、巴伊亚联邦大学(UFBA)，并对纳塔尔北部格兰德联邦大学(UFRN)和Unicamp的Escola Livre de Música (ELM)进行了为期两天的短期访问。
{"title":"Free Music Improvisation in Brazil: an ethnography of Brazilian improvisers","authors":"F. Schroeder","doi":"10.26209/IJEA20N15","DOIUrl":"https://doi.org/10.26209/IJEA20N15","url":null,"abstract":", Abstract A four-month research period into the practice of free music improvisation in Brazil during February-June 2014 allowed intriguing insights into how musicians think about, play and teach the music practice that is referred to as ‘free improvisation.’ An overview of the term ‘free improvisation’ with some historical context on its development will be provided to aid the reader to better situate the ethnographic study of 50 Brazilian improvisers during 2014. The ethnography was carried out by the author who speaks fluent Portuguese, using a participatory action research (PAR) framework, with the main aim of enquiring whether or how the practice of free improvisation is taught in the Brazilian higher education system. The research was set at several higher education institutions in Brazil, which included the Federal University of Rio de Janeiro (UFRJ), The Universidade Federal do Estado do Rio de Janeiro (UNIRIO), The University of São Paulo (USP), The Federal University of Minas Gerais (UFMG), The Federal University of Bahia (UFBA), with two shorter, single day visits to The Federal University of Rio Grande do Norte in Natal (UFRN) and The Escola Livre de Música in Unicamp (ELM).","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44841575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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