Arts Education Practice and Research | Education
Arts Education Practice and Research
Reviews
to load big map
25.01.2022 The Memory Project is a Non-Governmental Organisation (NGO) founded in 2004 in the USA that is "creating a kinder world through art" by organizing advanced art ...students to create portraits as special gifts for youth around the world. They need more art students to participate because so many American schools are closed, so they have asked Art Education Australia to help promote this unique intercultural opportunity. . If your advanced students would like to help create portraits, the Memory Project will waive their usual participation fees (normally $15) which is their only source of funding for coordinating the delivery of the portraits to the children.. Check out https://www.memoryproject.org/ and email Ben Schumaker at [email protected] if you are interested. https://www.memoryproject.org/portraits
23.01.2022 Reminder... Call for Book Chapters The Art of Decolonizing: Methods and Strategies from Art, Craft, and Visual Culture Education... Editors: Dr. Amanda Alexander, Associate Professor, University of Texas Arlington Dr. Manisha Sharma, Associate Professor, University of Arizona Chapter Proposals Due (Submission Deadline): August 31, 2020 Full Chapters Due: February 15th, 2021 Review Policy: Double Blind Peer Reviewed Introduction/Overview: Artists and educators in the contemporary world are crossing disciplinary boundaries to collaboratively address socio-political and socio-cultural shifts from global to nationalist and race-biased policies regarding issues like immigration, health-care, policing etc. They are also addressing economic factors of neoliberalism affecting public education policy and funding; legal ramifications of undermined labor forces; ownership of artifacts and rituals in cultural industries in national and international contexts; identity politics of how bodiesof women, LGBTQ+, and persons of colorare controlled by institutional structures; and the urgency of challenging human exploitation of the natural environment for political and economic profit. Our book will present such topics from the perspective of art, craft, and visual culture education to highlight the leadership of the arts in addressing these urgent issues. In short, this edited volume evokes discussion of what forms of decolonizing engagement can be recognized as art, craft, and visual culture education. Moreover, we’re seeking deeper examinations of: -How decolonization has been and is still being defined and discussed in the contemporary world in connection with the arts? -What are the conversations happening in international, border-crossing spaces rather than each specific region (North America, Europe, Asia, Oceania, Africa, and South and Central America)? -What are the conversations around conceptual frameworks and practical acts of decolonization beyond the specificities of Indigeneity and postcolonial/decolonial contexts to better understand their confluences and differences? Included chapters will demonstrate how art, craft, and visual culture education activate social imagination and action that is equity and justice driven. Specifically, this book will provide arts-engaged, intersectional understandings of decolonization in the contemporary world. It will combine current scholarship with pragmatic strategies and insights grounded in the reality of socio-cultural, political, and economic communities across the globe. We seek chapter submissions from diverse geographies and demographics that speak to significant decolonizing discourses in contemporary art, craft, and visual culture education. The book will have four sections that address the colonization of (1) histories, (2) space and land, (3) mind and body, and (4) digital and virtual realms. We seek submissions for each of these sections that will present conceptual and pragmatic frameworks of decolonization work being done through the arts in connection to various disciplines and sites. The themes of histories, space and land, mind and body, and the digital will highlight and illustrate how artists, educators, and researchers exemplify the use of decolonial methods, theories, and strategiesin research, artmaking, and pedagogical practice (rather than present work in disciplinary silos). This is reflective of decolonization ideals in contemporary contexts. A key aspect of this book is that it will present to its readers practical, enactable strategies and actions that demonstrate what decolonization looks like in practice within art, craft, and visual culture education. Thus, we are looking for chapters from across several locations of practice such as K-16, museum education, community-based art education, and studio settings. This is to encourage collaboration on more equitable terms where people work with each other as opposed to one segment working for the other. We are seeking narratives of work being done in the broader arena of art, craft, and visual culture education, which intersects with other disciplines in Social, Behavioral, and Health Sciences. The pre-pandemic world was already witnessing shifts from global thinking back to more insular, nationalistic visions. The pandemic not only united the world in a shared concern, it also highlighted and underscored the exacerbation of existing socio-economic-political-cultural-technical inequalities of race, class, caste, gender, and the skewed economics of socio-political and cultural institutions that maintain them. It therefore becomes more important than ever to revisit what decolonization looks like in current and future contexts, which is what this book examines. The book is under review for contract with Routledge Press: Taylor and Francis. Call for Chapters: For this edited volume, please submit chapter proposals in APA format and with no more than 150 words (not including references). As you describe your proposed submission, please indicate: 1) the proposed content, 2) who you consider to be your primary audience (artists, teaching artists, teachers, students, researchers, general public, administrators, etc.), 3) which of the four themes you are addressing (histories, space and land, mind and body, or the digital), and 4) what format you choose (creative shorts, enacted encounters, or ruminative research). Ensure that your proposal clarifies how art, craft, and visual culture education is centrally engaged with decolonization work. Thematic options to consider for your proposal are: Section 1: Decolonizing Histories: This section includes chapters that demonstrate how artists, researchers, and teachers address various histories to shape their decolonizing work. Histories might refer to personal, cultural, political, or disciplinary. Section 2: Decolonizing Space and Land: This section includes chapters that demonstrate how artists, researchers, and teachers activate space and land, physically and conceptually, to shape their decolonizing work. Section 3: Decolonizing Mind and Body: This section includes chapters that demonstrate how artists, researchers, and teachers consider presence and/or absence of mind, intellect, emotion, and body to shape their decolonizing work. Section 4: Decolonizing the Digital: This section includes chapters that demonstrate how artists, researchers, and teachers imagine digital and virtual spheres to shape and disseminate their decolonizing work. Choose from one of the three following formats: Creative Shorts: Creative shorts are visual formats that may be illustrations, graphics, diagrams, tables, poems, manifestos, etc. with a maximum limit of 1,000 words and a maximum of six separate TIFF images. Enacted Encounters: Enacted encounters are short chapters describing process and focus on the efficacy or failure of enacted curriculum and/or pedagogical strategies. This type of chapter speaks to personal encounters in professional practice and the challenges and triumphs of decolonizing work rooted in arts education. This type of submission has a limit of 3,000 words including references. Ruminative Research: Ruminative research consists of more traditional academic essays that present research, studies, or theoretical stances in decolonizing work in art, craft, and visual culture education. This format has a 5,000 word limit including references. Submission Notes & Questions: -We will review submissions and reply by November 1st, 2020. -Please send submissions to [email protected].
17.01.2022 Look what Anne and Peter are doing!
16.01.2022 It seems it is either a feast or a famine. Drama Australia are running a workshop on Academic Publishing this afternoon. Sounds like a really beneficial offering. See link below for details. https://www.facebook.com/dramaaustralia/posts/4357536600927638
15.01.2022 The International Society for Education through Art (InSEA) is seeking a Principal Editor for the International Journal of Education through Art CLOSING DATE 27 MARCH 2021 Full announcement at this link https://ojs.library.ubc.ca/index//announcement/view/182278
12.01.2022 Looks great John Nicholas Saunders
01.01.2022 12 PLAYS OF CHRISTMAS - a collection of curated commissions by Visible Fictions. We gave 12 of Scotland’s most exciting artists 1 line from the famous song and tasked them to create a family friendly 2 minute film for social media. We cannot wait to share these with you. The films will be released throughout December across our social media channels. Click ‘going' or 'interested' to be kept in the loop of when a new film is released. ... The 12 Plays of Christmas artists are: Patrick Wallace, Lucas Chih-Peng Kao, Cameron Strachan, Stewart Ennis, Christine Urquart and Zoe Bullock, Calum Coutts, Elspeth Chapman, Nikki Kalkman, Petre Dobre, Roberto Cassani, Daniel Padden, and Lisa Keddie
01.01.2022 Today we release updated Protocols for working with First Nations Cultural and Intellectual Property in the Arts. The protocols are an essential resource that p...romotes self-determination and provides a guide for best practice for anyone working with First Nations artists or within the First Nations arts and cultural sector. They examine key legal, ethical and moral considerations for the use of First Nations cultural material in the arts. https://www.australiacouncil.gov.au//protocols-for-using-/ Image compiled from: Joel Bray and Damion Hunter in Djurra a NORPA Production. Credit: Kate Holmes. Broken Glass photo - Lily Shearer, Liza-Mare Syron and Katie Leslie. Credit Joshua Morris. Polly Hilton, Darren Edwards, Claire Voss, Christian Luck, Catherine Young and Oliver Edwardson in Milnjiya, Milky Way River of Stars, image courtesy of West Australian Ballet. Credit Sergey Pevnev. Image compiled by Gilimbaa.
