International Journal of Education & the Arts

How can expanding definitions of dance and normalizing dance participation dismantle stereotypes and provide inclusive opportunities for all children? After developing and implementing a virtual and in-person curriculum that explored computational thinking through dance choreography, Leonard and Daily explored the embodied and narrated identities of participants who identified as boys through an intersectional lens.

Read this and more in Volume 26 of IJEA!

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How has storytelling, better known as yarning among First Nations communities in Australia, supported Aboriginal high school students' connections to culture? What are the benefits of devoting space for Aboriginal pedagogies in schools? How could yarning support the collection, analysis, and dissemination of data in music education research?

Find out in this article from Volume 26 of IJEA at www.ijea.org!

This case study explores communications students’ use of media installations and performance to engage audiences about the intersections between discipline-based theories and their lived experiences of cultural identity. Using Dewhurst’s criteria for justice-based pedagogy, this article explores how media-arts projects might engage lived experiences and impact both students and teachers.

Read this and more in Volume 26 of IJEA! www.ijea.org

The concept of sloyd describes various activities in which materials are processed into craft objects. Swedish sloyd educators have grappled with the challenge of integrating aesthetic and cultural expressions into their teaching practice. This study’s aim was to show how interpretations of aesthetic and cultural teaching manifested in policy documents. Results point to differing and coexisting views that may impact opportunities for expressive acts.

Read about this and more in IJEA Volume 26!

Volume 26 of IJEA continues with action research examining the effectiveness of the movement-based constructivist "Lighthouse Framework" as a tool for revitalizing collaborative learning in Macau, China.

We are excited to announce our first articles of the year! Explore this topic as part of Volume 26 at http://www.ijea.org/.

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Through the use of puppetry with objects as an educational strategy, the Chilean theater company Perro Bufo has enabled students to develop creative, expressive, and socio-emotional skills. Theater contributed to the acquisition of critical thinking competencies among primary students, encouraging them to reflect on gender perspectives and stereotypes.

We are pleased to announce a new special edition on the topic of Positive Psychology and Music Education edited by Guest Editors Liesl van Der Merwe and Ewie Erasmus. Congratulations to the editors and authors for this exciting and timely contribution! http://www.ijea.org/v24si2/index.html
Tawnya Smith, Senior Editor IJEA

Congratulations to Alexis Kallio, a member of the IJEA Associate Editorial Board since 2018. Alexis is stepping down from her role with IJEA to take a new role as the Co-Editor of Research Studies in Music Education! Thanks, Alexis, for your dedicated service to IJEA, and best wishes to you in your new role!

Volume 24 Special Issue 1 is on the topic of Museum Education: Multiple Perspectives and features eleven articles that consider museum education from a wide perspective (museums of history, science, & art) as well as museum goers from across the broad spectrum of society. Thanks to Boyd White (McGill University, Canada) for serving as the Guest Editor. http://ijea.org

Volume 19 Number 18: Across the Bridge: A Story of Community, Sociality, and Art Education: The article examines the planning, development, and outcome of an experiential learning project that brought together undergraduate studio art students and the workers of a power plant about to shut down. As one of the instructors for the project, I reflect on how our emergent pedagogical methods interfaced or conflicted with students interests, and plant employees. Principles of phenomenological research inspired my early steps to the study. However, its operative conceptual framework follows the thoughts of socially engaged artists Suzanne Lacy (2010) and Pablo Helguera (2011), guiding an analysis of the relationships between students and workers with instructors as observer-participants. I investigate how these roles and relations developed through different modalities that ranged from familial sentiments to memorializing impulses, including the industrial conditions that inspired various sensual and aesthetic student responses. I argue that the production of artwork as autonomous objects, which constituted the self-evident outcome of this community-focused experience, contributed only a transactional materiality to the project, and that the relational exchanges from which transformative experiences originated, offered unrivaled creative possibilities. http://dlvr.it/QlMY6N

Volume 19 Number 17: Welcome to Gallery 5: An Immersive Digital Art Experience: Unfortunately, many schools have suffered budget cuts, heeded employer and state demands for increased STEM education, and faced increased pressure to prepare the children in their care for high stakes standardized exams, making art as an academic discipline an afterthought. To help bridge this gap, the Crystal Bridges Museum of American Art, in Bentonville, Arkansas, partnered with Virtual Arkansas to author high-quality digital courses for public high school students in Arkansas. The course includes extensive use of Gallery 5, an immersive, 3D online experience in which students curated their own art collection. This paper provides qualitative analysis of a pilot study of one of the courses, Art Appreciation: The American Identity. Qualitative data was examined, considering themes that inductively emerged from data collected using interviews and a focus group. Finally, recommendations are presented that should lead to learning design improvements. http://dlvr.it/QlMY2f