Artists and Arts-Based Method Use in Higher Education: A Living Inquiry of an Academic Programme in a Faculty of Education

Burnard, Pamela; Holliday, Carol; Jasilek, Susanne; Nikolova, Afrodita

doi:10.1007/978-3-319-63808-9_13

Cited by 6 publications

(3 citation statements)

References 18 publications

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“…This aesthetic-oriented paradigm has a strong focus on reflexivity and empathy oriented through the creation and consumption of the art (Dunlop, 2001). As such, through this project, like other ABER-oriented projects (Burge et al, 2016;Burnard et al, 2017;Lynch & Glass, 2020) the act of creation and the created product itself served as data. At the outset, participants were invited to join a research project entitled the "arts of resistance research".…”

Section: Methodsmentioning

confidence: 99%

Activism as leadership: Supporting progressive activists within our work

Weiser¹

2023

JCAPS

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This empirical work is driven by a study on the experiences and motivation of a group of college-aged student activists. Using a cohort of 14 millennial-aged activists who organized their work in response to a rise of right-wing authoritarianism in national and state politics, this paper presents recommendations for how student affairs professionals working in activities-oriented functional areas can leverage these experiences to build capacity around engagement, leadership development, sense of belonging, and work in partnership with these communities to challenge unjust practices within the academy. Further, I argue that in order to do our work of supporting students in their educational ventures, we can no longer claim notions of political neutrality.

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Section: Methodsmentioning

confidence: 99%

Activism as leadership: Supporting progressive activists within our work

Weiser¹

2023

JCAPS

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“…Los mismos son alentadores en cuanto al interés que presenta este colectivo en jugar un rol relevante en la educación artística presente y futura de los más jóvenes en contextos no profesionalizadores. Muchos de ellos todavía no se han iniciado en proyectos vinculados a la educación obligatoria, y, pese a ello, un 86.9 % están dispuestos a negociar sus identidades profesionales (Burnard et al, 2018) e invertir su capital artístico en el futuro de la sociedad, brindando un papel preeminente a las etapas educativas primaria en un 45.9 % y universitaria en un 24.6 %. Cabe plantearse si el escaso protagonismo de Secundaria (13.1 % de los participantes) tiene que ver con las dificultades del trabajo con los adolescentes, pues a la luz de los datos ofrecidos por Zakaras y Lowell (2004) el mayor impacto de la educación artística sobre el consumo cultural de la vida adulta está determinado por su consumo previo entre los 12 y 25 años, coincidentes con la Educación Secundaria y universitaria.…”

Section: Discusión Y Conclusionesunclassified

De la escena a las aulas: los artistas y la incorporación de la danza española y el baile flamenco a las enseñanzas generales (From the stage to the classrooms: artists and the incorporation of Spanish and flamenco dance into the general education)

Bonnin-Arias

Rodríguez

Sánchez

2020

Retos

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La problemática social del siglo XXI, caracterizado por la incertidumbre y el cambio acelerado, obligan a la escuela a reconfigurarse. Las artes se presentan como una oportunidad para formar ciudadanos capaces de afrontar estos retos, ofreciendo competencias en materia de creatividad, identidad y sentido de comunidad, muy ligadas a las artes autóctonas. Sin embargo, las ventajas derivadas del aprendizaje de la danza española y el baile flamenco, parecen estar siendo desaprovechadas por las enseñanzas generales en España. Este trabajo pretende indagar en el papel que juegan los profesionales del mundo de la danza autóctona en la educación obligatoria en España, explorando en las configuraciones perceptivas y autoperceptivas de los artistas ante la incorporación de la misma a la escuela. Se ha efectuado un estudio descriptivo no probabilístico, mediante cuestionarios semiestructuradas que recogen la experiencia en primera persona y la visión de artistas reputados en el ámbito del objeto. Los resultados inciden en la orientación general del diseño e implementación de los estudios de danza en la escuela, sus beneficios para afrontar los retos sociales actuales, las etapas educativas oportunas para el calado, la afinidad con otros docentes y asignaturas, infraestructuras y la valoración de la cualificación de los profesores que imparten danza en la educación general, brindando una aproximación al rol presente y futuro de estos artistas en la escuela. Abstract. The demand for finding solutions to the social challenges of the 21st century, characterized by uncertainty and rapid change, requires a reconfiguration of the school system. In this context, the arts can offer an opportunity to prepare citizens in a better way to face new challenges. Arts provide valuable competencies like creativity, identity and the creation of a sense of community, which can be especially beneficial when they derive from the autochthonous culture. However, the advantages related to learning Spanish and flamenco dance seem to be neglected by the general school system in Spain. The present study explores the perceptive and self-perceptive configurations of artists about the incorporation of autochthonous dance in school. A descriptive and non-probabilistic analysis has been performed by means of a semi-structured survey. The survey focused on first-person experience and the vision of reputed artists in the fields of study. The results shed light upon the general orientation for the design and implementation of autochthonous dance classes in school, the benefit of their inclusion in the curriculum for the community and for facing the challenges of the 21st century. Moreover, they indicate which are the most convenient stages of education for the introduction of the subject in order to ensure affinity with other teachers and their disciplines, as well as with the available infrastructure. Lastly, the results highlight the importance of the qualifications of the current dance teachers in the education system and suggest the present and future roles of dance artists in schools.

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“…For example, Pam Burnard herself attaches importance to the 'social engagement' of arts-based research, and of course some arts-based research is thus socially engaged, but clearly this is not a necessary feature of arts-based research, nor is social engagement only a feature of artsbased research: social science based action research had its roots in community engagement before it became associated with classroom research (see Adelman, 1993); MacDonald's (1974) 'democratic programme evaluation' was distinctively about the engagement of all stakeholders; and a whole raft of sociologically and ethnographically based post-colonial research was posited on the same principle. Burnard et al (2018) cite with favour a definition of arts-based practices provided by the feminist sociologist Leavy in her Method Meets Art: Arts-Based Research Practice:…”

mentioning

confidence: 99%

On the (Re)presentation of Educational Research Through the Medium of the Creative Arts

Bridges¹

2020

Journal of Philosophy of Education

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The paper seeks to unpick and examine a number of related claims for the role of the arts or, more specifically, the creative arts, in educational research. It considers and evaluates ways in which artistic creativity might itself be thought of as either based on research or itself a form of inquiry which might claim to be research. Such claims are entirely plausible, though they perhaps force artistic creativity into a particular mould that not all artists would appreciate. Artistic work may also constitute data conveying information about a particular setting or the events from which they were produced, signs and symbols for the observer or researcher to interpret. The claim that art might be used to represent educational practice, policy or experience receives the fullest treatment, and this requires consideration of both the general claim (which runs counter to the ambitions of many artists, choreographers and musicians) and more particular claims for, for example research-based narrative fiction, which is treated somewhat sceptically.

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Artists and Arts-Based Method Use in Higher Education: A Living Inquiry of an Academic Programme in a Faculty of Education

Cited by 6 publications

References 18 publications

Activism as leadership: Supporting progressive activists within our work

Activism as leadership: Supporting progressive activists within our work

De la escena a las aulas: los artistas y la incorporación de la danza española y el baile flamenco a las enseñanzas generales (From the stage to the classrooms: artists and the incorporation of Spanish and flamenco dance into the general education)

On the (Re)presentation of Educational Research Through the Medium of the Creative Arts

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