Creative expansion of knowledge-creating learning

This special issue addresses an important arena of learning that has been neglected by the Journal of the Learning Sciences; that is, “learning in and through arts” in the context of K–12 education. Although some forms of art education (e.g., visual arts, music, design, and technology) are a part of the curriculum in many countries, the educational potential of the arts for learning the creative skills and competences that are crucial for preparing young people for an innovation-driven knowledge society has not been sufficiently explored. The multifaceted articles included in the special issue demonstrate how learning in and through arts significantly expands the scope of knowledge-creating learning (Paavola & Hakkarainen, 2021) in secondary education. Such learning refers to the personal and collaborative processes of creating, sharing, and advancing shared objects, whether in reference to ideas, designs, projects, productions (e.g., performances), or practices being improved. I use here the term “knowledge” in the broadest possible sense to include what is explicit in written text or spoken discourse, implicitly and pre-reflectively informs experts’ creative habits and practices, underlies their motoric and operational competencies, and shapes their creative agency and identities (Hakkarainen, 2009). The arts are not a single discipline, but consist of many intersecting creative fields. Teaching and learning in arts in this special issue represent the visual (drawing, painting, and architecture) and performing arts (ballet and dance). Based on my review of the four articles included in the special issue, I have identified some common themes and recognized crucial differences in the art forms. My commentary is structured as follows: I first address the epistemic objects of arts learning; second, I reflect on the authentic disciplinary practices of art making; third, I consider the domain-specific and domain-general aspects of the learning arts; fourth, I consider the nonlinear pedagogy of learning arts; fifth, I discuss material embodiment; and finally, I observe the interaction between individual and collective processes