Arts and education

Art therapy, as a means of self-expression and healing, is used in a variety of clinical and rehabilitation settings. Here, it is tested with a population judged to be involved in terrorism-related activities. This paper presents an extensive review of the art therapy program at Mohammed Bin Nayef Center for Counseling and Care, Riyadh, Saudi Arabia. The objective of this study is to showcase the use of art therapy in the care and rehabilitation of ex-jihadists, with suggestions for best practices. This paper is the first description in the literature of the efforts of the Saudi government to explore the use of art therapy in counterterrorism. Art therapy outcomes on a population incarcerated for terrorist activities are presented alongside treatment and reconstruction of extreme ideology through art production. We conclude that a successful art therapy program is required within the overall approach to counterterrorism. Further, a strong understanding of the cultural backgrounds of the subjects, along with recommendations for relying upon specific artistic components of the therapeutic process are clearly indicated. According to government sources, together with the other programs offered to ex-jihadists, the art therapy program discussed here, which has been in operation since 2007, has achieved an 86.17% success rate, with (as of January 2015) a 13.83% recidivism rate. This is a strong indication that art therapy is an efficacious approach in counterterrorism.

Appendix for the thesis Acts of Research: Knowledge Production in Contemporary Art between Knowledge Economy and Critical Practice

The term ‘knowledge society’ is used to refer to the increasing relevance of non- manual knowledge-producing labour in current post-industrial economies. Contemporary art, especially since 1989, has not been left out of this trend, to the extent that today it is not rare to see artists and curators described as knowledge producers and exhibitions and art works as instances of knowledge production. Acts of Research: Knowledge Production in Contemporary Arts between Knowledge Economy and Critical Practices analyses this development.
The academic discussion of knowledge production in the arts has taken place mostly in seminars and articles, in which knowledge is often discussed as an intrinsic quality of the artwork. Acts of Research, however, is devoted to studying the rise of knowledge production in contemporary art from the perspective of artistic, curatorial and educational research with an awareness of larger political, economic, geographical and art-related aspects. The concept of ‘acts of research’ is suggested as a way to understand knowledge production as a creative act in which research carried out in relation to a specific material challenges and resists the protocols of conventional knowledge production and norms. It is argued that knowledge production is not a stable concept, but may indicate a series of acts of research that allow each art practice to participate in a collective constitution of both the term and its practice.
277
The conclusions are based on two different methodological approaches that structure the thesis. First, Chapter One traces the conceptual history of the term ‘knowledge production’, originally coined in economics and entering arts discourse as a critical term deployed against the rapidly growing global economy of the 1990s, and subsequently becoming a contested term in the new millennium due to its parroting of the discourse of that same global economy. Second, Chapters Two, Three and Four provide close readings of practices of artistic research in relation to the image and war (Hito Steyerl, The Otolith Group and Rabih Mroué), curatorial research in relation to global dynamics (Home Works: A Forum for Cultural Practices 2002-2013, III Bienal de La Habana and dOCUMENTA (13)) and educational projects in relation to knowledge and market economy (Tania Bruguera’s Cátedra de Arte de Conducta, Henriette Heise and Jakob Jakobsen’s Copenhagen Free University and Boris Buden’s Learning Place, part of the Former West Congress 2013); these readings are undertaken in order to understand the practices and workings of the specific mode of knowledge production unfolding through acts of research in the contemporary arts.

The term ‘knowledge society’ is used to refer to the increasing relevance of non- manual knowledge-producing labour in current post-industrial economies. Contemporary art, especially since 1989, has not been left out of this trend, to the extent that today it is not rare to see artists and curators described as knowledge producers and exhibitions and art works as instances of knowledge production. Acts of Research: Knowledge Production in Contemporary Arts between Knowledge Economy and Critical Practices analyses this development.
The academic discussion of knowledge production in the arts has taken place mostly in seminars and articles, in which knowledge is often discussed as an intrinsic quality of the artwork. Acts of Research, however, is devoted to studying the rise of knowledge production in contemporary art from the perspective of artistic, curatorial and educational research with an awareness of larger political, economic, geographical and art-related aspects. The concept of ‘acts of research’ is suggested as a way to understand knowledge production as a creative act in which research carried out in relation to a specific material challenges and resists the protocols of conventional knowledge production and norms. It is argued that knowledge production is not a stable concept, but may indicate a series of acts of research that allow each art practice to participate in a collective constitution of both the term and its practice.
277
The conclusions are based on two different methodological approaches that structure the thesis. First, Chapter One traces the conceptual history of the term ‘knowledge production’, originally coined in economics and entering arts discourse as a critical term deployed against the rapidly growing global economy of the 1990s, and subsequently becoming a contested term in the new millennium due to its parroting of the discourse of that same global economy. Second, Chapters Two, Three and Four provide close readings of practices of artistic research in relation to the image and war (Hito Steyerl, The Otolith Group and Rabih Mroué), curatorial research in relation to global dynamics (Home Works: A Forum for Cultural Practices 2002-2013, III Bienal de La Habana and dOCUMENTA (13)) and educational projects in relation to knowledge and market economy (Tania Bruguera’s Cátedra de Arte de Conducta, Henriette Heise and Jakob Jakobsen’s Copenhagen Free University and Boris Buden’s Learning Place, part of the Former West Congress 2013); these readings are undertaken in order to understand the practices and workings of the specific mode of knowledge production unfolding through acts of research in the contemporary arts.

Taiteen perusopetus on koulun ulkopuolista ensisijaisesti lapsille ja nuorille tarkoitettua taidekasvatusta. Taiteen perusopetus on yksi suomalaisen koulutusjärjestelmän menestystarinoista. Oppilaiden määrä on kasvanut 1990-luvun alkupuolelta saakka, ollen nyt noin 135 000.

Tämä julkaisu käsittelee taiteen perusopetuksen oppilaitoksille suunnatun Virvatuli-itsearviointimallin käytännön toimivuutta ja soveltamista kahden ensimmäisen vuoden kokemusten perusteella. Julkaisu nostaa esille rajattuja, konkreettisia kysymyksiä, vastauksia, tuloksia sekä toimintamalleja.
Julkaisua varten haastateltiin syksyn 2013 aikana kahtakymmentä taiteen perusopetusta antavan oppilaitoksen rehtoria tai arviointivastaavaa 18 oppilaitoksesta, joissa oli kokemusta itsearviointimallin soveltamisesta. Oppilaitoksia valittaessa on pyritty ottamaan huomioon eri taiteenlajit, maantieteellinen sijainti sekä eri kokoisten koulujen näkökulma.

Julkaisun lopussa on lisäksi kolme asiantuntija-artikkelia valottamassa arviointiprosessia oppilaan näkökulmasta, opettajien osaamisen arviointia sekä johtamisen arviointia.

Virvatuli-malli (Koivisto-Nieminen & Holopainen: Itsearviointiopas taiteen perusopetusta antaville oppilaitoksille, 2011) on ladattavissa maksutta Taiteen perusopetusliiton verkkosivuilta sekä suomen- että ruotsinkielisenä pdf-julkaisuna.

http://www.artsedu.fi/fi/tpo-liitto

Kulturelle Teilhabe ist in der Allgemeinen Erklärung der Menschenrechte (Artikel 27) als Menschenrecht verankert, gilt jedoch längst nicht für alle. Im Gegenteil: Eine Vielzahl von Menschen wird nicht von öff entlich geförderten kulturellen Angeboten erreicht und hat auch nicht die Möglichkeit, selbst künstlerisch oder kulturell produzierend tätig zu sein bzw. wahrgenommen zu werden. Ausschlüsse oder Barrieren in sowie durch Kunst und Kultur sind weit verbreitet und wirkmächtig. Doch welche Strukturen oder Mechanismen fördern Ausschlüsse? Wie können sie systematisch eruiert, benannt und analysiert werden? Wie lassen sich Forderungen nach Teilhabe, nicht-diskriminierenden Sprachpolitiken und Öff nung von Institutionen tatsächlich einlösen? Und wodurch können Veränderungen in Richtung einer transformativen, emanzipatorischen und solidarischen Arbeit in Kunst und Kultur erzielt werden? Ausgehend von Kritischer Kulturvermittlung und Kritischem Diversity überlegen wir in diesem Gespräch, wie Kulturarbeit als kritische Praxis konzeptualisiert und umgesetzt werden kann.
Dieser Auseinandersetzung ist eine gemeinsame Veranstaltungsreihe zu Kulturarbeit und Diversity5 am Programmbereich Zeitgenössische Kunst und Kulturproduktion des Kooperationsschwerpunktes Wissenschaft und Kunst (Paris-Lodron-Universität und Universität Mozarteum Salzburg) vorausgegangen. Dabei haben wir festgestellt, dass eine konkrete Verbindung von Kritischer Kulturvermittlung – als zentralem Teil von Kulturarbeit – und Kritischem Diversity wichtig ist, um eine allgemeinere Perspektive für eine Kulturarbeit als kritische Praxis zu entwickeln.

[Punitive] perspectives on artistic education and aesthetic knowing in classrooms void of creative expression. And how to get it back.
(A critique and response to the question:
What impact would art education have on creative cognition in both students’ ability to problem solve and on teachers’ ability to teach with passion as co-learners?)

This article explores how aesthetic gestures, experiences, interventions might help us make visible certain problematic, enduring, and historically contingent aspects of the troubling ways of being in which we, modern/Cartesian subjects exist in the world. The article does not seek to ultimately suggest some pedagogical strategies or approaches that will help us deconstruct/dismantle these problematic aspects. Instead, it proposes that the common way in which we imagine solutions to our problems, is the very way, through which these problems are being created in the first place. The text pays particular attention to two problematic constitutive characteristics of the modern/Cartesian subject. First is the reductivist insistence on having our being reduced to knowing (Andreotti, 2016) that results in having our relationship to the world mediated (exclusively) through knowledge. Second is our insistence on being able to see/sense/experience ourselves only as separate, presumably autonomous, individuals that ultimately ends up producing us as such..

Art and design are at a crossroads in higher education. The choices we make now will affect the future of our disciplines. How will we move forward, making productive changes that enhance our position as vital and valued contributors to the mission of our colleges and universities?

The aim of this thesis is to examine in detail the value that letterpress printing provides by connecting people to the craft. By looking at relevant sources from examples of contemporary letterpress work to literature surrounding the topic it sets out to determine this value.
Firstly, this study looks at the desire that exists to reconnect with letterpress as a craft in reaction to mass produced print material. It then goes on to discuss the importance of letterpress being taught to design students as a way of internalising core design principles. Finally, the use of technological advancements such as 3D printing and laser cutters being used in conjunction with the letterpress process is examined. By building an argument through these areas of research, this thesis proves that there is value to connecting with the craft of letterpress printing.

Teaching Shakespeare is a fact for English Literature teachers across the globe, those in Ontario, Canada included. Even though the provincial curriculum does not dictate that Shakespeare be taught at any level, most Ontario high school students will encounter at least one, if not four, Shakespearean plays over the course of their secondary school career. And yet, the pedagogy behind this practice is patchy at best, with teacher-candidates being taught different things at different times, and teachers receiving little or no professional development in the matter unless they undertake to do it themselves.
This dissertation undertakes to examine how Shakespearean pedagogy is taught (or not taught) to pre-service teachers in Ontario, and what models might be used by both pre-service and practicing teachers to improve their own pedagogy. It suggests a new model of teaching Shakespeare's works, one that includes teaching artists, based on a model currently in use at the Stratford Festival in Stratford, Ontario, Canada.

1. INTRODUCCIÓN El arte instalado es una deriva de los modelos posmodernos y diver-sos del arte actual. Comparte con otras expresiones artísticas su capa-cidad de relatar narrativas particulares que conectan al espectador con temáticas personales o cercanas a su entorno, permitiéndole identificar-se con cuestiones como la identidad, la violencia, la multiculturalidad, las problemáticas antropológicas, etc. Su carácter intermedial (Reben-tisch, 2018, pp. 91-92) permite una hibridación de las artes llamadas tradicionalmente académicas (pintura, escultura, arquitectura, teatro… etc.) y un fin del arte autónomo como tal. Es decir, en cuestión de tres décadas los límites entre los modelos artísticos se han diluido. Hoy, el artista necesita del conocimiento de distintas referencias artísticas para que pueda garantizarse la producción artística. Estos cambios en el arte desarrollaron la creatividad de la producción artística que buscaba inter-pretaciones abiertas, sin categorizaciones ni límites de género. La instalación es un excelente medio para pensar de forma crítica y creativa sobre el significado de los espacios escolares y también un medio para actuar sobre ellos y transformarlos. La metodología del arte instalado favorece una mirada nueva del futuro docente sobre el espacio que habitan los alumnos y alumnas en las escuelas.

Reflecting on his joint appointment in visual art and education, Stanford Professor Eliot Eisner commented that he felt less welcome in the art department (2003). Exploring a job option at one university, I was told that as arts education faculty, neither I, nor my students, would be permitted in the school's impressive ceramics facility. How are we to encourage developing educators to incorporate the arts into their pedagogy if they lack access to first hand arts experiences? In response to this query, this chapter addresses the structure, content, and effect of a set of Exploring the Arts courses designed to bridge the education/studio gap with interdisciplinary arts offerings for visual artists and arts educators, as well as classroom teachers and artists across domains. Art Educator Adrift: Art Department vs. Education School In a survey of art education programs, Galbraith and Grauer (2004) observed that teacher educators are often afforded less status than their colleagues in other subject areas within the hierarchical structures of universities and colleges. Although teaching is a central part of being a professor, the activity and study of teaching may be seen as secondary and less valuable than research into what are regarded as more academic subject areas of higher education.

PARA CITAR: Marfil-Carmona, R. (2008, febrero). Educación Artística y enseñanza de la comunicación audiovisual. Espacios comunes. En F. Maeso Rubio, C. Arañó Gisbert, R. Gutiérrez Pérez, y M.D. Callejón Chinchilla (coords.), II Congreso Internacional de Educación Artística y Visual: Retos sociales y diversidad cultural. Actas digitales. Sevilla: Ilustre Colegio Oficial de Doctores y Licenciados en Bellas Artes de Andalucía. Congreso celebrado en la Facultad de Ciencias de la Educación, Universidad de Granada. Febrero de 2008.
RESUMEN: El lenguaje del siglo XXI no es la literatura, ni siquiera la expresión exclusivamente visual, sino la comunicación audiovisual y multimedia. Para afrontar la didáctica de las producciones audiovisuales, que debe estar dirigida siempre a fomentar la capacidad crítica de los jóvenes, hay que tener presente que trabajamos con la combinación de imágenes, sonidos y, en muchos casos, interactividad. Ubicar esa actividad didáctica y analítica en el marco de la Educación Artística es una tarea obligada para las personas que se dedican a la docencia e investigación de las denominadas “artes visuales”. Se trata de un reto pluridisciplinar, para el que resulta fundamental definir la aportación de cada uno de los campos académicos implicados.

The future of the arts in higher education--writ large--requires the examination, analysis, and synthesization of many central and peripheral issues if arts education is to be successfully sustained. Present-day and future leadership must not rely upon traditional and legacy-grounded knowledge in order to grow and improve our creative disciplines. This report is just the first of many that outlines certain issues in axiomatic and easily digestible form. Vol.1 focuses on the visual arts.

As language is a powerful tool for communication, it is necessary that the choice of words we use can be easily understood by others. This website explains to writers the differences between Abstract and Concrete terms. Knowing this distinction would make writers more effective in trying to get their message across.

""HEA Arts & Humanities Annual Conference 2014,
'Heroes and Monsters: extra-ordinary tales of learning and teaching in the Arts and Humanities'

The session discusses the role of the life-model in the teaching of life-drawing, and notes her/his conventional marginalisation in making images and in teaching art. Frequently regarded as an abject and monstrous figure whose body and presence is regulated by the tutor and life-drawers, the life-model is a naked, roving, chattering shape-shifter. Taming and containing the monstrous model is a key function of the tutor. But what happens when the life-model teaches the class? This paper discusses findings from The Art of the Life-Model at Leeds Art Gallery/ Leeds College of Art, 2002-2009 noting the shape-shifting benefits of model-led pedagogy.
Errata - PLEASE NOTE: There is a formatting error on Appendix 5, also some of the photos have shifted from their original pages. Please ensure there are no photographs printed out at the top of the appendices' handouts if you are using them as teaching materials. . The box which is out of synch on Appendix 5 should read 'Verbal Direction. Tutor / Lead artist tells the model how to place their body.' There is a correctly-formatted copy of this spider graph in the appendices of the 2007 'Embodying the Other' report, also available to download here. Please note this paper is also reproduced below - due to techno issues with the site I ended up making a double entry!

Further details:
The session will invite participants to reflect on their own experiences and/ or perceptions of the functions, conventions and practice of working with life-models in a life-drawing situation. It will introduce teaching materials used on The Art of the Life-Model course to explore the conventions of life-drawing, the shape-shifting histories of the life-model, also a range of practices used to 'pose' the model. It will also introduce materials used on a concurrent programme WILMA - Women Into Life-Modelling Arts - a series of community workshops in which life-models explored the profession and discussed how their role is configured and presented to life-drawing students and artists. The session introduces discussion of the role of the life-model in the teaching of life-drawing, and notes her/his conventional marginalisation as a creative agent in the making of images. This marginalisation extends to the historical treatment of the model as an abject and monstrous figure whose body and presence is regulated by the tutor and life-drawers in the processes of life-drawing, and through the conventions of robing, screening and fixing, also by stillness, silence and distance. The model is a shape-shifter in the life-drawing space and convention demands that s/he is fixed. The session will discuss the development and experience of model-led teaching, discussing the monstrous implications of moving between the conventionally discrete positions of 'model' and 'tutor' and the effects of combining these roles. It will discuss how nudity is managed and negotiated with learners in this context. It will also discuss innovative ways of mark-making and drawing from the model for the life-drawing student working individually or collectively.

The session will also invite discussion on the role and practice of life-drawing in public gallery spaces. The Art of the Life-Model was held at Leeds Art Gallery and each session started from an artwork in which the presence of both visible and invisible bodies could be traced. Students were encouraged to 'step into the picture' and to empathise with the world of the model through a mixture of drama-based and storytelling activities before engaging with life-drawing. The sessions involved teacher and learners in experimental life-drawing sessions using both the education workshop and the public spaces of the gallery. This took the negotiation of the roving, shape-shifting, chattering, naked and theatrical body of the life-model beyond the life-drawing space and into a public arena - a movement that raised questions about the performance of the grotesque, the marginalised, the visceral and the abject in the gallery space - its possibilities and its limits. It also took the act of drawing out of the closed world of the studio and into the public space raising questions about the changing function of the gallery as a process-based and 'making' space' and the implications for viewing inherent in this. The session will introduce sessional documents, photographs and examples from practice inviting new ideas on the role of the model in both closed and public life-drawing practice.

Conference Registration now open: http://www.heacademy.ac.uk/arts-humanities-conf-2014
""

Thanks to the American Dance Legacy Institute founders Carolyn Adams and Julie Adams Strandberg, the invention of the Repertory Etude has become an unparalleled gift to the field of dance. In the 1990's, the sisters concluded that study of master repertory was central to dance literacy and that the legacy of dying American modern dances should be maintained. Etudes introduced the idea that kinesthetic aspects of dance masterworks could be available to everybody for ongoing access and performance, thereby perpetuating the legacy. Teacher professional development and public school dance programs were seen as vehicles for disseminating the dream. One year after the birth of the first Repertory Etude by Donald McKayle (Rainbow Repertory Etude, 1997), an effort was made to fuse Etude dance and masterwork studies with comprehensive standards-based teaching and learning. The initiative became known as The Etudes Project. This report describes the dynamic collaboration that shaped the design and process of this new model for dance education. It considers how the innovations and implications advance dance literacy. Repertory Etudes are a new source for accessing magnificent dance creations, deepening historical connections, and influencing emerging student art. The Etudes Project is generating unprecedented resources for the field where none had previously existed.

In this paper, I discuss the recent merging of two Irish traditional performances, the house-visiting tradition of mumming and the competitive tradition of Lambeg drumming, in the Shared Education Program in Northern Ireland. While the traditional tunes and rhymes performed by the professional mummers, the Armagh Rhymers, tend to be associated with Irish Catholic culture, the Lambeg drum is typically associated with Protestantism and particularly with the private fraternal Orange Order. I use participant observation and draw on several performance studies articles to argue that the process of folklorization made it possible for the Armagh Rhymers to perform in the unprecedentedly political setting of an Orange Lodge. By establishing themselves as a professional and international performance group, rather than amateur local actors as mummers traditionally are, the group was invited by the county council to take part in its initiative of developing children's cross-community education with a focus on honoring Orange Order heritage. The emphasis on Orange heritage in this year's project encouraged the Portadown Orange Lodge to open their doors to the Armagh Rhymers and Lambeg drum educator, Billy Hill to engage children of local Catholic and Protestant schools in 6 weeks of ritual drama involving the Lambeg drum. I draw on studies that discuss narrative in ritual drama and mythic storytelling, as well as in soothing social tensions in a political context. I examine the formal similarities in the rhyming and drumming traditions, and consider the project's effectiveness in building friendly relations between the children, adults, and communities involved.

Starting from the speculative fabulation Deep Blue, we aim to explore in this text the pedagogical potentialities implied in this conceptual and cinematic experimentation from the dispositif of the “image-egg”, as a gesture of slowdown of the processes of creation in favor of other, ever minor lives that operate as transitive and processual modes of existence against the spectacle. In other words, cinematic modes of experience
that through the “image-egg” give way to a cinematic embryology as a
diagrammatic obliquation of a radical pedagogy. Dispositions that affirm other ways of entering into relation with images and of being in a state of constant and impersonal co-learning with them.

This article tells the story of an elementary school math teacher faced with the challenge of preserving a classroom devoted to innovative and creative learning, as his independent day school moved towards standardization and traditional educational approaches. After being informed that his instruction needed to come into closer alignment with the rest of the school he invited his students to brainstorm ways in which they could inconspicuously remain empowered agents of their own learning. The class decided to set aside one hour each week as a time for self-directed learning. During this time they produced math-based carnival games culminating in an event they called ‘Math Palooza’. Reflecting on this experience, the author realized the importance of using critical self-reflection to interrogate the status quo and as a safeguard from falling into habitualized methods of instruction and obsolete forms of curricular design.

World's longest art critique!
In 2020, a group based at the School of the Art Institute in Chicago spent a total of 16 hours on a single painting, this one, by Deanna Miera.
The 16-hour format was a special project: the idea was to talk until no one could think of any additional plausible meaning. When this works it's an amazing experience: you see how the meanings of a work of art aren't infinite, and how we all think along well-worn paths even when we imagine we're all unique.
The document I'm linking here shows the results, and also includes guidelines to do your own totally masochistic, annoying, boring, and possibly totally revelatory long-form critique.

The paper presents some results of a research about L. S. Vygotsky’s writings up to the year 1923, that is, before the more well-known works in the fields of psychology and education. It is a large number of texts, mostly theatrical reviews (published in Gomel local newspapers), some literary criticism and essays about drama and visual arts. The analysis of these material can shed light to the understanding of his two more acknowledged works about art: The tragedy of Hamlet, prince of Denmark and Psychology of Art. The paper aims firstly to present an overview of the researched corpus, the context of their publication in Vygotsky’s biography and in the Russian context, as well as to provide the translation of “On Children’s Theater”, written in 1923, followed by a commentary that seeks to establish connections between this short article and ulterior works, particularly “Aesthetic Education” (book chapter in Educational Psychology, 1926), Imagination and Creativity in Childhood (1930); The play and its role in the child’s psychological development (1933).

Diario psichico è nato come un esperimento: può un testo, una confessione – irregolare, frammentata, sincopata – narrare sulla pagina scritta le immagini prima che le immagini stesse si rendano visibili? Il libro che avete tra le mani è dunque una raccolta di scritti intimi e personali, elaborati nel corso di un anno passato a lavorare con i Masbedo (Nicolò Massazza e Iacopo Bedogni). Insieme con gli artisti, abbiamo infatti deciso di mettere su carta i pensieri e le parole scambiate durante la preparazione del progetto the classroom. Masbedo, Handle with care. /
Psychic Diary was born as an experiment: can a text, a confession – irregular, fragmented, syncopated – describe on the written page the process of making images before images themselves become visible? The book in your hands is a collection of intimate writings elaborated during a year spent working with Masbedo (Nicolò Massazza and Iacopo Bedogni). Together with the artists, we decided to put some words on paper while preparing the exhibition project the classroom. Masbedo, Handle with care.

Art is a form of beauty and it needs encouragement to be developed. This Encouragement must come from a wider circle and Jamini Roy took his art works to all classes of people. The name of Jamini Roy shines among the most notable painters of India, especially modern India. He gave a fresh expression to his ideas and thoughts through colours. Jamini Roy, a great artist who changed the concept of Indian modern art.

La educación artística está cambiando la situación del aprendizaje en la escuela. Las nuevas metodologías artísticas conciben un currículo educativo que se enmarca en los procesos creativos que permiten un aprendizaje activo y significativo. La multidisciplinariedad del arte ayuda a los docentes a desarrollar metodologías que favorecen la interacción,
la manipulación, la experimentación e interiorización de contenidos curriculares desde el juego y la resolución de problemas. Conecta conocimientos, relaciona y valora, es crítica con el entorno y hace propuestas para la transformación social.

Arts Impact summarizes lessons learned at the ArtsBridge Program. It is informed by in-depth participant observation, logic modeling, and quantitative evaluation of program impact on K-12 students in inner city schools and arts students at the University of California Los Angeles over a two year period. The case study frames its analysis through a literary overview of the following social issues: 1) how educational attainment relates to poverty in California; 2) the importance of the creative economy in Los Angeles; and 3) the failure of California to reach federally mandated goals in arts education--particularly for under-resourced neighborhoods. Data finds statistically significant positive impacts on participants’ views of self and others. This case study suggests important roles for higher education partnerships with under-resourced K-12 schools, the significance of quality teacher preparation in the arts at the university level, and the positive impact of arts education for empowering student and teacher learning.

‘The Educational Turn in Art: Rewriting the Hidden Curriculum,’ co-authored with Janna Graham and Susan Kelly, Performance Research ‘On Radical Education' issue, Vol. 21:6, December 2016.
In about 2006, the art world developed a prolonged fascination with questions of education, pedagogy and the art school. ‘The Educational Turn’ (Rogoff 2008), as it became known, produced a plethora of artistic and curatorial practices that engage with educational paradigms and problematics. Prompted in part by the European Union Bologna Process, The Educational Turn provided a critique of education as one-directional knowledge transfer, and the framing of education as a commercialized industry, reduced to the utilitarianism of training for working life. At the same time, it established ‘education’ as a thematic for the art world, in most cases divorced from its capacity for producing change in the fields of art or education. This article asks, what is the hidden curriculum (Illich) of this Educational Turn? Drawing from the writings of Colin Crouch, Wolfgang Streeck and Paulo Virno among others, it suggests that such ‘turns’ without a vital link to the realm of action, contribute to the broader problematic of public programming without a public sphere, through which formerly democratic institutions (like art galleries) operate as shells in a capitalist environment that is increasingly incompatible with democracy. We read The Education Turn here as a missed opportunity to re-shape art curricula and institutions, to develop a movement to oppose the Bologna Accord and the brutal changes imposed on art education through austerity politics. Finally, we argue—citing the writings of Paulo Friere, the mutualist movements in Europe of the eighteenth and nineteenth centuries, the educational experiments of Celestin Freinet and Fernand Oury in France in the 1950s and the pedagogies of feminist and post-colonial struggle—for a deeper connection to radical education genealogies and their contemporary counterparts in contemporary public programming today.