For artists, scholars, researchers, educators and students of arts theory interested in culture and the arts, a proper understanding of the questions surrounding ‘interculturality’ and the arts requires a full understanding of the creative, methodological and interconnected possibilities of theory, practice and research. The International Handbook of Intercultural Arts Research provides concise and comprehensive reviews and overviews of the convergences and divergences of intercultural arts practice and theory, offering a consolidation of the breadth of scholarship, practices and the contemporary research methodologies, methods and multi-disciplinary analyses that are emerging within this new field.
This book brings together the current theory, research and practical perspectives from different parts of the world on language teacher identity in an attempt to better understand the nature of identities teachers in different contexts develop. By linking theory to pedagogy, the book examines how second language teacher identities are shaped and explores the various links between teacher identities and variables that affect the formation of identities. Theory and Practice in Second Language Teacher Identity includes a foreword by Jack Richards (University of Sydney and RELC), an afterword by Peter de Costa (Michigan State University) and holds 20 invited chapters by established and active scholars and teacher educators to discuss the various aspects of in-service and pre-service second language teacher identity development. It also addresses the way the COVID-19 pandemic has impacted teacher identities and examines under-researched issues, such as the intersection between gender and race in second language teacher identity development and identity construction in second languages other than English. What does it mean to be a teacher of English as a second language in an age of globalization, new media, technological revolution and de-institutionalized knowledge? How do teachers gain pre-service and in-service expertise, a sense of professional identity, and educational integrity? And how have they dealt with the extra-burden imposed by the pandemic? This thought-provoking volume offers valuable perspectives on these important issues in the professional development of English teachers worldwide. — Prof. Claire Kramsch, University of California, Berkeley, USA. The way we see ourselves and are seen by others influences our social and professional interactions. Teacher identity and sense of agency is therefore not merely a matter of research interest for it impacts learners and learning, which makes the topic of this book extremely important. With chapters located in a wide range of countries – from USA to Australia via UAE, Thailand and others – and drawing on a variety of research methods, the book synthesizes extant research and develops many new research avenues. It does so not only with theory in mind but with practical lessons for teachers and teacher educators and thus becomes an essential volume for our libraries and studies. — Prof. Michael Byram, University of Durham, UK. In this compelling collection, co-edited by Karim Sadeghi and Farah Ghaderi, the authors address key questions about language teacher identity in contemporary applied linguistics: What is the relationship between language teacher identity and language teacher agency? To what extent does ideology impact language teacher identity? How do language teachers navigate an increasingly globalized and unequal world? Authors from different regions of the world draw on diverse methodologies to share insightful research on both pre-service and in-service language teacher identity, making an important contribution to applied linguistics and TESOL at a time of great social and educational change. — Prof. Bonny Norton (FRSC), University Killam Professor and Distinguished University Scholar, University of British Columbia, Canada. “Theory and Practice in Second Language Teacher Identity” captures recent thinking about language teacher identity. The broad array of excellent chapter contributions explores multiple dimensions of identity, from teacher agency and emotions to the disruptive effects of the Covid pandemic on teachers’ professional lives and practices. The studies draw on a number of theoretical perspectives and demonstrate the use of both familiar and innovative research methodologies. The relevant topics, the up-to-date bibliographic sources, and the useful research findings make this edited volume an essential addition to your bookshelf. — Prof. Gary Barkhuizen, University of Auckland, New Zealand.
This book reviews the current practices of traditional musics in various cultures of all continents, and examines the impact and significance of traditional musics in the modern world. A diverse group of experts of musicology and music education collaborate to expose the current practices and challenges of transmission and evolution of traditional musics in order to seek sustainable development, so that traditional musics can take the place they deserve in the modern world and continue to contribute to human civilization. This volume contains three main sections that include transmission of traditional musics, authenticity and evolution, as well as challenges in future. Based on the chapters, the editor proposes four major trends of transmission of traditional musics, namely, formalization, politicization, Westernization and modernization in transforming contexts.
This extensive Handbook addresses a range of contemporary issues related to arts education across the world. It is divided into six sections; Contextualising Arts Education, Globally and Locally; Arts Education, Curriculum, Policy and Schooling; Arts Education Across the Life Span; Arts Education for Social Justice: Indigenous and Community Practice; Health, Wellbeing and Arts Education and Arts-Based and Research-Informed Arts Education. The Handbook explores global debates within education in the areas of dance, drama, music, media and visual arts. Presenting wide-ranging research from pedagogies of adaptation developed in Uganda to ethnomusicology in Malaysia and community participatory arts to wellbeing in Canada the Handbook highlights the universal need for arts education and in particular the importance of indigenous (including both traditional and contemporary practice) arts education. With contributions from internationally renowned scholars and practitioners and building on the World Alliance for Arts Education Global Summit in 2014, the Handbook creates an essential resource for arts education practices in and out of school alongside institutional, traditional and contemporary contexts. Students, teachers and practitioners across the arts disciplines will find the text invaluable for developing further opportunities to promote and study arts education.
This book provides answers to the following questions: How could visual art support us in reflecting about interculturality critically? When we look at, engage with and experience art, what is it that we can learn, unlearn and relearn about interculturality? The book adds to the multifaceted and multidisciplinary field of intercultural communication education by urging those working on the notion of interculturality (researchers, scholars and students) to give art a place in exploring its complexities. No knowledge background about art (theory) is needed to work through the chapters. The book helps us reflect on ourselves and on our engagement with the world and with others, and learn to ask questions about these elements. The authors draw on anthropology, linguistics, philosophy and sociology to enrich their discussions of critical interculturality.
Fully updated in light of the latest research and practice in primary education, Teaching Music Creatively offers all teachers a comprehensive understanding of how to develop, deliver and enjoy a creative music curriculum. It is inspired by the belief that all those concerned with primary education have a deep interest in creativity and supports teachers in developing the confidence to teach and celebrate creative music teaching throughout school. With groundbreaking contributions from international experts in the field, it offers well-tested strategies for developing children’s musical creativity, knowledge, skills and understanding. This edition includes a brand new chapter on teaching interculturally, showing how children can reach their full creative potential and not be constrained by cultural stereotyping. Key topics covered include: ■ Creative teaching, and what it means to teach creatively ■ Composition, listening and notation ■ Spontaneous music-making ■ Group music and performance ■ The use of multimedia ■ Integration of music into the wider curriculum ■ Musical play ■ Assessment and planning. Teaching Music Creatively is packed with practical, innovative ideas for teaching music in a lively and imaginative way, together with the theory and background necessary to develop a comprehensive understanding of creative teaching methods. It is an invaluable resource for all those training to become primary school teachers, as well as practicing teachers looking for support and inspiration and undergraduate students of music and education.
This open access book examines the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas or wholly celebratory diversity discourses. Bringing together high-level theorisation of the ways in which music education upholds or unsettles understandings of society and empirical analyses of the complex situations that arise when negotiating diversity in practice, the chapters in this volume explore the politics of inquiry in research; examine music teachers’ navigations of the shifting political landscapes of society and state; extend conceptualisations of diversity in music education beyond familiar boundaries; and critically consider the implications of diversity for music education leadership. Diversity is thus not approached as a label applied to certain individuals or musical repertoires, but as socially organized difference, produced and manifest in various ways as part of everyday relations and interactions. This compelling collection serves as an invitation to ongoing reflexive inquiry; to deliberate the politics of diversity in a fast-changing and pluralist world; and together work towards more informed and ethically sound understandings of how diversity in music education policy, practice, and research is framed and conditioned both locally and globally.
The sensuous is the human experience, unfolding our everyday experiences and articulating our affects. Without sensory information, we could neither know nor be. This is because we gain information through our senses and interpret that information as perceptions, the sociocultural frames used to analyze that input. This is the case regardless of how a sensorium is constructed, a more limited Western five senses model for example. It is also the case no matter how senses are defined, they ways they are expressed, or the ways in which they are understood to function. Further, because there are often greater differences between members within a particular group than divergences between groups, how one attends to and acts in light of sensory information is always a polyphonic tapestry constructed on the warp of the sociocultural and the weft of individualism. Education, the transfer of information between people, animals, things, and ecologies, is therefore a sensory endeavor. Sensuous curriculum is one means of describing this deeply layered intersection of educational ways of being and knowing. In many ways inverting how questions of curriculum are often framed, Sensuous Curriculum: Politics and the Senses in Education foregrounds how sensory understandings are forms of educational, relational politics. Bringing the depth and complexity of sensory studies firmly into curriculum and foundational studies of education, contributors to this volume address this educational and political intersection from a wide variety of theoretical and practical perspectives that are always embodied and material. Approached in an academic yet accessible manner, Sensuous Curriculum addresses key questions about what it means to educate and the ideas and ideals render those understandings sensible. This variety, depth, and accessibility combine to make Sensuous Curriculum an important resource for those interested in critical studies of the senses in educational ecologies and holistic education. It is a text as at home in theory and methods doctoral courses as it is in undergraduate courses for preservice teachers and will be of interest to those searching for rich ways to conceptualize education outside of a standards-centric perspective. Praise for Sensuous Curriculum: "This collection engages and challenges readers to think more deeply about questions of curriculum in connection to the sensuous in ways not typically considered, existing multi-dimensionally in transdisciplinary, interdisciplinary, and cross- disciplinary work. This compelling, intellectually stimulating, exhilarating volume is a canonical contribution everyone must study." Theodorea Regina Berry Professor and Chair, African American Studies College of Social Sciences, San Jose State University "Dr. Gershon’s edited collection, Sensuous Curriculum: Politics and the Senses in Education, makes the case for corrective action. By exploring the sensory as human experience, curriculum, and political, the authors of this volume offer iterations and variations for interrupting the ignor(anc)es of the sensorium in education and the body in making sense." M. Francyne Huckaby Associate Dean, TCU School of Interdisciplinary Studies Professor, Curriculum Studies, TCU College of Education & Center for Public Education "I thoroughly enjoyed sensing this book. This collection defies the conventional popular trends that sit inside the classic curriculum vinyl on our bookshelves. And in Aokian fashion, Walter Gershon has successfully brought together an ensemble of curriculum scholars who dare us to improvise and replay the possibilities and limitations of educational research as a tantalization of our senses. The research put forth in this collection not only promises to the break barriers of our thinking, but also makes significant contributions to and beyond post-humanism, new materialism, curriculum and affect theory. All serious scholars—artists, teacher educators, teachers, graduate students, community activists—of curriculum studies will want to purchase a copy of this carefully, crafted, curated sensuous collection. Without reservation...put the needle on their record, cause I am one of their biggest fans." Nicholas Ng-A-Fook Professor, Director of Teacher Education, Indigenous Teacher Education Co-Director of the Réseau de Savoir sur l’Equité/Equity Knowledge Network Faculty of Education, University of Ottawa
THAWZEN Moments: Autoethnographic Piano Teaching and Learning Stories is a collection of 46 vignettes, digitally edited photographs, poems, and reflective-reflexive narratives about children’s imaginative, creative, and magical lifeworlds of exploring music and piano playing. There are many ways of learning to play the piano, THAWZEN different ways of re/imagining music. There are many stories to share with you, never-ending questions to explore together. The stories included in this book are our happy piano play, our shared musical journeys in re/creating more meaningful and joyful piano teaching and learning experiences.
Indigenous and settler scholars and media artists discuss and analyze crucial questions of narrative sovereignty, cultural identity, cultural resistance, and decolonizing creative practices. Humans are narrative creatures, and since the dawn of our existence we have shared stories. Storytelling is what connects us, what helps us give shape and understanding to the world and to each other. Who tells whose stories in which particular ways leads to questions of belonging, power, relationality, community and identity. This collection explores those issues with a focus on settler-Indigenous cultural politics in the country known as Canada, looking in particular at Indigenous representation in media arts. Chapters feature roundtable discussions, interviews, film analyses, resurgent media explorations, visual culture advocacy and place-based practices of creative expression. Eclectic in scope and diverse in perspective, Indigenous Media Arts in Canada is unified by an ethic of conciliation, collaboration, and cultural resistance. Engaging deftly and thoughtfully with instances of cultural appropriation as well as the oppressive structures that seek to erode narrative sovereignty, this collection shines as a crucial gathering of thoughtful critique, cultural kinship, and creative counterpower.
