This article interprets the repercussions of visual storytelling for art education and arts‐based narrative research and, particularly, it approaches visual storytelling as a critical tool for pre‐service teacher education. After reinterpreting storytelling from the perspective of visual critical pedagogy, I will narratively reconstruct the use of visual storytelling in three learning stories taking the form of students' portfolios. As a visual narrative researcher, I will examine the tactics for writing and reading that these students have developed in creating visual stories: the first narrative analyses the role of art during the reconstruction of the learning process by incorporating autobiography and reflexivity (Tanit's portfolio); the second narrative reflects on deconstruction and intertextuality in a multimedia portfolio, which mainly interrelates opera and cinema (Eulàlia's portfolio); and the third narrative introduces virtual storytelling and connects self‐awareness/meta‐awareness with multi‐literacy in narrative learning (Sonia's portfolios). This article also views improvisations, attempts, drafts and interactions in the process of writing and reading portfolios as part of visual experimentation to fabricate learning stories, in order to analyse the opportunities that visual storytelling offers for visual narrative pedagogy.

The aim of our article is to discuss the potential of art education to enhance children’s culture. In so doing, we are contributing to a debate that began at the InSEA congress in Rovaniemi (2010) during the symposium on cultural diversity. The article is based on recent research and art pedagogy projects conducted by the writers in five European countries: Finland, Italy, Portugal, Spain and Sweden. When comparing and evaluating these projects, we focus on the space given to children’s culture and on the power art has in constructing childhood as a social and cultural phenomenon. It was evident from the projects that enhancing children’s culture can be achieved in multiple ways, as cultural dialogues that can produce new understanding and places for further cultural encounters. The projects also made visible how childhood can be constructed and reconstructed through art both by and for children. The projects emphasized the responsibility art educators have for organizing art education that enables the social and cultural participation of children.

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This article focuses on art-based methodologies (ABR), particularly on practices based on the moving image such as experimental cinema/video and on how they can contribute to the construction of professional identities in art education and art-based educational research (ABER). As feminists, we locate ourselves in postcolonial visual culture studies and critical film/pedagogical theories. We explore how experimental video-based research, and auto-ethnographic video making, leads to a reflexive space in which to connect the artist–researcher–educator with the other bodies that participate in the research – María Ruido and a group of five fine art students. We focus our attention on the processes of narrating-editing as an autoethnographic and experimental way to produce the video narrative and the text Juxtaposition (2017). Finally, we show how the processes of narrating-editing enable the relocation of the different bodies, spaces and times and the juxtaposition of professional identities.