II the call for proposals, it was explained that the notion of 'learning through art' might be broadly interpreted but should focus primarily on the visual (rather than, for example, dance, drama or music). We further noted that the term 'art' should be viewed as embracing crafts, indigenous making, design, media and product or service design. In addition, we suggested that authors might reflect on some key issues, and cited the following examples: • The extent to which Read's ideas are relevant to education in the 21 st century. • The role of teaching and learning visual arts in either formal or informal contexts. • Current educational praxis in the fields of arts, design, visual culture and craft education across the world. • Research methods and contemporary arts, crafts & design practices. • The relationship between education, design, craft and contemporary visual arts. • Pedagogical issues in the field of arts, craft, design and visual culture. • The value of education through art for a sustainable future. • The contributions of visual art educational practices arts, for peace and sustainable education. • Future directions for education through art. We were overwhelmed by the response to the call and received many more proposals than it was possible to include and, unfortunately, we had to decline many otherwise excellent manuscripts. Following the call, our Academic Review Panel evaluated the proposals and selected authors were invited submit full drafts. The draft chapters (or visual essays) were then subjected to double-blind peer review and this book is the result of that process. The opening chapter, from England, is a case in point-an essay with no abstract or keywords. Dennis Atkinson provides us with an essay that challenges us as art educators to consider • How education through art is changing, or has changed, since Read published Education through Art in 1943. IV From Taiwan we travel to Portugal in the next chapter. Eça considers the notion of 'creating situations' that might encourage people to reflect on the self in relation to the 'other'. With some similar themes to Kim and Manifold, Willis and Zimmerman, the author posits that contemporary art with its infinite possibilities and multidisciplinary nature, offers real potential in art education. Eça provides the example of using student photographs as stimulus for debate about contemporary art practices in schools and raising questions about how art might help create situations for students to engage with each other. Eça concludes with some suggestions for art educators. Sinquefield-Kangas and Myllyntaus, based in Finland, are the authors of chapter eleven. 'A new challenge for art educators in the 21 st century has emerged', write the authors, with Mamur, Saribas and Dilli's contribution, the seventh chapter, takes as its focus the changing urban fabric of our cities and their cultural, architectural and industrial heritage. The notion that a city has a 'memory' is at the heart of the authors' writing, how does urban transformation or 'renewa...
Museum education is a complex and specialized endeavour, even more so when involving partnerships with schools. In this paper, we engage with theories that support understanding of museum-educator pedagogies. Dewey's notion of occupations is explored as offering a better theorization of pedagogical possibilities than that available through ideas associated with identity. Museum-educator pedagogies shape occupations, as the coherence of interest-purpose-meaning. Such shaping is not a purely individual human action, as occupations are social and material, as being-in-the-world. Heidegger's phenomenological understanding of the working of art, critiqued by Schapiro, enables further comprehension of this pedagogical working. Both theories together provide insights into museum-educator pedagogies as expressive of the always challenging art of education.
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