Unapologetically Black Creative Educational Experiences in Higher Education: A Critical Review

Abstract

Black creative educational experiences (BCEEs) are participatory, performative cultural experiences created by or for students, centering Black artistic expression, aesthetics, and engagement. Using African-centered frameworks, we provide a methodological guide for examining BCEEs in education research, which includes centering Black “ways of knowing,” validating creative expressions cultivated by and for Black people, acknowledging the influence of Black creative expression on research and practice, considering researcher positionalities as observers and cultivators of Black creative expression, and viewing Black creative expression as knowledge production. We found BCEEs are democratizing educational experiences rooted in intellectual and expressive freedom (freedom of movement/voice/tongue), and community building. BCEEs should be centered in education research, particularly postsecondary education, and prioritized in institutional programming, curricula, and high-impact practices.

RETRACTED: Cultivation and interpretation of students' psychological quality: Vocal psychological model

“…With the deepening of vocal music theory research, interdisciplinary knowledge is further infiltrating into the practice of vocal music teaching (1). Due to the particularity of vocal music teaching, the bridge between vocal music teaching and vocal music knowledge is getting closer and closer (2), we continue to develop and attach importance to vocal music knowledge in the process of learning and vocal music teaching, and gradually become a benchmark in the field of vocal music and even art (3), so the development and utilization of vocal music knowledge is the pace of the times, it can improve students' second-degree creation ability and understanding and expression ability of works, and it is also conducive to cultivating students' emotions, attitudes and values (4)(5)(6). In vocal music teaching, the smooth communication between teachers and students and students' learning attitude directly affects their singing performance, so the research on vocal music knowledge is an important way to improve the efficiency of vocal music teaching (7).…”

Exploration of Multimodal Integration Education in Ethnic Vocal Music Teaching

“…The national music culture in the world is vast and boundless, and cannot be comprehensive. Therefore, in teaching, the main content should be to expand students' horizons and cultivate their multimodal cultural values [15].…”

Dance-Related Research In Tertiary Education : A Systematic Literature Review

“…Egyértelműen látszott, hogy a publikált kutatások több, mint 70%-a angol anyanyelvű országokból származott, ezen belül több, mint 60% (n = 26) az Egyesült Államokból (Baran, 2020;Bonner, 2022;Brown, 2022;Clendinning, 2022;Conner et al 2021;DiPasquale et al, 2021;DiPasquale & Roberts, 2022;Risner & Musil, 2017;Dragon, 2015;Duffy, 2015Duffy, , 2019Duffy, , 2020Gail et al, 2018;Haines & Torres, 2016;Johnson, 2018;Kearns, 2016;Lopez, 2019;McCarthy-Brown, 2015;Patton et al, 2022;Pulinkala, 2014;Purvis, 2018;Risner & Barr, 2015;Robinson, 2016;Sulé, 2015;Walker, 2019) és az Egyesült Királyságból (n = 17) (Assandri, 2019;Domene & Morley, 2022;Dryburgh, 2020;Dryburgh & Jackson, 2016;Ehrenberg, 2020;Farrer, 2018;Higdon & Stevens, 2017;Johnson et al, 2019;Kelsey & Uytterhoeven, 2016;Mills, 2014;O'Leary et al, 2019;Petsilas et al, 2019;Rimmer, 2017;Ritchie & Brooker, 2018Roe, 2017;Seago, 2020), míg csak a cikkek mindössze 10,14%-a származott Ausztráliából…”

“…Harmadik kérdésünk a vizsgálatok kutatási módszertanára vonatkozott. A kutatások közel kétharmadában (62,32%) (n = 43) kvalitatív kutatási eszközöket alkalmaztak (Assandri, 2019;Baran, 2020;Barton & Ryan, 2014;Bonner, 2022;Conner et al, 2021;Domene & Morley, 2022;Duffy, 2019Duffy, , 2020Dryburgh, 2020;Dryburgh & Jackson, 2016;Ehrenberg, 2020;Farrer, 2018;Haines & Torres, 2016;Higdon & Stevens, 2017;Johnson, 2018;Johnson et al, 2019;Kaktikar, 2016;Kattner, 2016;Kelsey & Uytterhoeven, 2016;Leijen & Sööt, 2016;Liu, 2020;Lopez, 2019;McCarthy-Brown, 2015;Mitchell, et al, 2018;‚Ofamo'oni, 2021;O'Leary et al, 2019;Patton et al, 2022;Petsilas et al, 2019;Pulinkala, 2014;Rimmer, 2017;Risner & Barr, 2015;Ritchie & Brooker, 2018Robinson, 2016;Roe, 2017;Salcedo et al, 2017;Seago, 2020;Stevens et al, 2019;Stevens & Huddy, 2016;Sulé, 2015;Tembrioti & Tsangaridou, 2013;Tsompanaki, 2014;…”

“…A táncórák inkluzivitása és a táncoktatáshoz való hozzáférés kérdése is a kutatók figyelmének középpontjába került (Brown, 2022;Clendinning, 2022;DiPasquale & Roberts, 2022;McCarthy-Brown, 2015;Mitchell et al, 2018;Wang, 2022), foglalkozva annak fontosságával, hogy a táncoktatás elérhetővé váljon a különböző populációk számára. Emellett az inter-vagy multikulturális táncoktatás kérdése (Clendinning, 2022;Jin & Martin, 2019;Johnson, 2018;Kaktikar, 2016;McCarty-Brown, 2015;Stevens et al, 2019;Wang, 2022), valamint a demokrácia és egyenlőség jelensége a táncos felsőoktatásban (Patton et al, 2022;Risner & Barr, 2015;Ritchie & Brooker, 2018;Sulé, 2015, Walker, 2019 is megjelent a kutatási témák között. A tánc-és kultúrakutatás interdiszciplináris területén is találtunk (auto)etnográfiai vizsgálatokat a különböző táncstílusok eredetéről (Bonner 2022;Dryburgh, 2020;Kaktikar, 2016;Patton et al, 2022;Risner & Musil, 2017;Ritchie & Brooker, 2018).…”