scholarly journals Arts-based interventions in healthcare education

2017 ◽  
Vol 44 (1) ◽  
pp. 28-33 ◽  
Author(s):  
Magda Osman ◽  
Bella Eacott ◽  
Suzy Willson

Healthcare education institutions are increasingly including arts-based interventions in their programmes. We analysed 62 studies of arts-based interventions to understand how these interventions may be beneficial, and why providing evidence continues to be a challenge for the field.Our analysis highlighted two issues. We found that 79% of the included studies reported that their interventions were successful, but without always defining this success or how it was measured. This lack of clarity was apparent in descriptions of both what arts-based interventions aimed to do, and in descriptions of how they might do this. We also found that only 34% of studies involved a collaboration with artists or arts educators, raising questions over who had the necessary experience and specialism in the arts to design and deliver such interventions.Our analysis revealed that arts-based interventions are failing to acknowledge, and subsequently capture through assessment, the process of learning in the moment. This is particularly important because arts-based pedagogies typically use embodied, practical, physical methods, in which what is being learnt cannot be separated from the process of learning. Involving artists and arts educators throughout the process of designing and delivering these interventions may help to bring clarity over what arts-based interventions are aiming to do and how they may do this, and ensure that appropriate evaluation methods are used. We suggest that close observation with feedback, and the use of reflective portfolios are two ways of assessing the process of learning in arts-based interventions.

1992 ◽  
Vol 8 (31) ◽  
pp. 261-263
Author(s):  
Ryszard Cieslak

At the moment, you're working with young actors teaching a course in experimental theatre at New York University. What are you trying to teach them?How to be true in performance, that above all. I struggle to plant in them the principle that Grotowski handed on to me: we act so much in our daily lives that to make theatre what we need to do is to stop acting. Another very important thing to understand is that an actor must concentrate on his own body. The actor's instrument is not his voice or his diction, it's his whole body. Theatre can be a combination of all the arts – music, dance, painting, writing – but above all it is moving visual art. So long as an actor has elementary problems with his body, he is limited. So just as a musician has to exercise his fingers every day, so an actor has to exercise his body almost to the point of overcoming it, that is, being in complete control of it.


Author(s):  
Andrew Jakubowicz

The 4 Rs conference at the University of Technology Sydney in October 2008 took place less than a year after the election of the Rudd Labor government. The moment is important to capture – the government had been swept into office on a wave of hostility to the Howard conservatives, but it did not have a mandate for radical reform. Its promises had carefully targeted key constituencies – skilled workers, small business, the urban “chattering” classes, people in education, in health and in the arts (to a small extent). The government was committed to fiscal discipline with a more humane face, its great vision summarised under the rubric of “social inclusion”.


2017 ◽  
Vol 17 (1) ◽  
pp. 48-56
Author(s):  
Arya Pageh Wibawa

The paradigm of the arts education in the future must be able to apply various approaches where learners can cultivate their views and tolerant attitude towards the cultural diversity in Indonesia. The arts education is expected to be a compulsory course in universities so that the students have sensitive, aesthetic, creative and innovative attitude as well as adaptive character to any change and good ethics in expressing their creativities. It is not just an education generated only for the sake of art competition but must become a daily necessity. In facing the globalization phenomenon, the arts education is made to utilize multicultural approach which can be accepted by various circles of society. The arts educa- tion with a multicultural approach should have flexibility and rely on the ability of the learners and the socio-cultural conditions of the local society. The role of the arts educators is expected to not only pos- sess the local artistic knowledge, but also the knowledge about other regional arts so that in this way the students obtain complete knowledge of arts and culture as well as fostering the sense of tolerance with the diversity.


PARADIGMA ◽  
2020 ◽  
pp. 151-167
Author(s):  
Ubiratan D’Ambrosio

En este ensayo, se realizan reflexiones sobre los movimientos STEM y STEAM, desde laperspectiva de la Etnomatemática. En prime r lugar, el asunto se ubica en el contexto de laurgencia que está experimentando la humanidad, debido a la aparición de un nuevo viruscorona que generó el COVID 19, que ha propiciado la pandemia que el mundo ha sufridodesde fines de 2019 y que para el m omento de la aparición de este número de la RevistaParadigma (junio de 2020) ha causado cientos de miles de muertes en casi todos los países.Posteriormente, se ofrece una visión crítica del movimiento STEM que generó la propuestaSTEAM, que difiere de ST EM al incluir la A de Artes. Con respecto a este cambio, el autor delensayo, desde la Filosofía de las Matemáticas, se pregunta si hay un lugar para la ficción y lafantasía en las Matemáticas, que son esenciales en las Artes. Para responder esto se neces itanalgunas preguntas preliminares: ¿qué es el conocimiento? ¿Cómo se genera ¿cómo estáorganizado? ¿Cómo se comparte y se transmite? que el autor responde desde el Programa deEtnomatemáticas y plantea su perspectiva personal para introducir el concepto de STEAM.Palabras clave: Historia de la matemática. Filosofía de la matemática. Dinámica de losencuentros culturales.Sobre as propostas curriculares STEM e STEAM e o Programa EtnomatemáticaResumoNeste ensaio são realizadas reflexões sobre os moviment os STEM e STEAM, na perspectivada Etnomatemática. Em primeiro lugar é posicionado o assunto no contexto da urgência queestá vivendo a Humanidade toda pelo aparecimento de um novo corona vírus gerador daCOVID 19 que propiciou a pandemia que o mundo sofre desde finais de 2019 e que para omomento da aparecimento deste número da revista Paradigma (junho 2020) tem causadocentenas de milhares de óbitos em quase todos os países. Após é oferecida uma visão críticado movimento STEM que gerou a proposta STEAM q ue diferencia se do STEM ao incluir Adas Artes. Relativo com essa mudança, o autor do ensaio, desde a Filosofia da Matemáticapergunta se se existe lugar para ficção e fantasia em Matemática, que são essenciais nas Artes?Responder i sso precisa de algumas perguntas preliminares: o que é conhecimento? como égerado? como é organizado? como é compartilhado e transmitido? Que o autor responde desdeo Programa Etnomatemática e planteia sua perspectiva pessoal para introduzir o conceito deSTEAM .Palavras Chave . História da Matemática. Filosofia da Matemática. Dinâmica dos EncontrosCulturais.About STEM and STEAM curricular proposals and the Ethnomathematics ProgramAbstractIn this essay, reflections on the STEM and STEAM movements are carried out, from thep erspective of Ethnomathematics. In the first place, the matter is placed in the context of theurgency that humanity is experiencing, due to the appearance of a new corona virus thatgenerates COVID 19, which has propitiated the pandemic that the world has suffered since theend of 2019 and that for the moment of the appearance of this edition of the RevistaParadigma (June 2020) has caused hundreds of thousands of deaths in almost all countries.Afterwards, it is offered a critical view of the STEM movemen t that generated the STEAMproposal, which differs from STEM by including A Artes )). Regarding this change, the authorof the essay, since the Philosophy of Mathematics, wonders if there is a place for fiction andfantasy in Mathematics, which are essentia l in the Arts? Answering this needs somepreliminary questions: what is knowledge? how is it generated? how is it organized? how is itshared and transmitted? That the author responds from the Ethnomathematics Program andplans his personal perspective to introduce the concept of STEAM.Key words. History of Mathematics. Philosophy of Mathematics. Dynamics of CulturalEncounters.


2021 ◽  
Author(s):  
◽  
Ralph James Bathurst

<p>Arts-based expressions are becoming an increasingly important for understanding and improving business practice. More specifically, drama, painting and music are all artistic tools being used as ways of helping leaders gain insights into organisational life. However, there is a gap between art as a consulting practice, and its theoretical underpinning. Organisational aesthetics is a relatively new theory of organisations that endeavours to close the gap between the theoretical underpinnings of art and its application as a consulting practice. This thesis contributes to the theory-building efforts of this rapidly expanding field by exploring and developing a novel research methodology: Aesthetic Ethnography. This method is a means whereby researchers work at the arts-business nexus to investigate the ever-changing landscape of organisational life. In order to show how this occurs, the Auckland Philharmonia is offered as an exemplar. Its developments are observed during a time of governance restructure. As an aesthetic ethnography, the case study positions the orchestra as a work of art and describes how it is intentionally presenced as an artistic piece. Its concretisation is described as a construct by both the researcher and the stakeholders within the enterprise, occurring in three ethnographic movements: Emotional Attachment, Cognitive Detachment and Integrated Synthesis. The thesis concludes that the aesthetic lens can be turned on other artistic enterprises, and indeed beyond these, to the wider organisational world. To do this, further research is proposed into the music of organisations. Specifically, it is suggested that the nature of ensemble be explored and that the artistry of composition be used as a way of further teasing out the musicality of organisational life. Furthermore, music's temporality and its reliance on both fixed structure and sensitivity to the moment make it an apt tool to reflect on management practice.</p>


1970 ◽  
Vol 10 (6) ◽  
pp. 6
Author(s):  
Juan Pedro Macias Pingarrón ◽  
Maria Dolores Torrado Criado ◽  
Joaquin Garcia Guerrero ◽  
Fernando Sanchez Espinosa

El objetivo de este estudio fue describir la “carga de volumen” y evaluar la diferencia en la proporción de "respondedores" (PR) según el tipo de fluido, el volumen, la duración de la infusión y el momento de la evaluación. Métodos: Se realizaron búsquedas en MEDLINE y Embase para estudios que utilizan la carga de volumen como una prueba de precarga cardíaca con una descripción de la técnica, una definición reportada de capacidad de respuesta de fluidos y PR. El resultado primario fue la PR media, según el volumen de líquido, el tipo de líquidos, la tasa de infusión y el tiempo de evaluación. Resultados: se incluyeron un total de 85 estudios (3601 pacientes) en el análisis. Las PR fueron 54.4% (IC 95% 46.9-62.7) donde se administró <500 ml, 57.2% (IC 95% 52.9-61.0) donde se administraron 500 ml y 60.5% (IC 95% 35.9-79.2) donde> 500 ml fue administrado (p = 0.71). El PR no se vio afectado por el tipo de fluido. La RP fue similar entre los pacientes a los que se administró una carga de volumen durante <15 minutos (59.2%, IC 95% 54.2-64.1) y durante 15-30 minutos (57.7%, IC 95% 52.4-62.4, p = 1). Cuando el tiempo de infusión fue ≥30 minutos, hubo una PR menor de 49.9% (IC 95% 45.6-54, p = 0.04). La respuesta se evaluó al final de la exposición a los fluidos, entre 1 y 10 minutos, y > 10 minutos después de la exposición a los fluidos. Las proporciones de respondedores fueron 53.9%, 57.7% y 52.3%, respectivamente (p = 0.47). Conclusiones: el PR disminuye con un tiempo de infusión largo. Es deseable estandarizar la carga de volumen. Abstract The purpose of this study was to describe the ‘charge of volume’ and evaluate the difference in proper proportion for ‘responders’ (PR) according the type of liquid, volume, the timing of infusion and the moment of evaluation. Methods: Medline and Embase searches were made for studies using charge of volumen as a cardiac precharge test among a technique description, fluid  response capacities reported definition and PR. Primary results were average PR, according liquid volumen, liquid type, infusion ratio and time for evaluation. Results: A total of 85 studies (3,601 patients) for the analysis. PR were 54.4% (IC 95% 46.9-62.7) where <500 ml was administrated 57.2% (IC 95% 52.9-61.0) where 500 ml was administrated and 60.5% (IC 95% 35.9-79.2) where >500 ml was administrated (p=0.71). PR was not influenced by the type of fluid. RP was similar among patients given a charge of volumen during <15 minutes  (59.2%, IC 95% 54.2-64.1) and during 15-30 minutes (57.7%, IC 95% 52.4-62.4, p = 1). In time of infusion ≥30 minutes, a lesser 49.9% (IC 95% 45.6-54, p = 0.04) PR happened. Response was evaluated at the end of fluid exposure between 1 and 10 minutes, and <10 minutes after fluid exposure. Responder´s proportion was 53.9%, 57.7% y 52.3% (p=0.47). Findings: PR decreases in a long infusion time.  Standardise charge of volumen is desirable.


2019 ◽  
Vol 18 (3) ◽  
pp. 432-446 ◽  
Author(s):  
Nicholas Rowe

Performing arts teachers, in diverse regions of the world, recognise that globalisation has indelibly influenced how the arts are valued, practiced and taught (Rowe, Martin, Buck, et al., 2018). As illustrated by three key United Nations Education, Science and Culture Organisation (UNESCO) policies on arts and culture in the 21st century (UNESCO, 2003, 2006, 2011), global mandates can present contrasting imperatives, prompting shifts within regional, national and institutional strategies. So how do tertiary arts educators respond to shifts in global policies? After a brief historical analysis of three UNESCO strategic documents associated with arts education, this article considers how the contrasts within these strategies have presented challenging learning moments for arts educationalists. ‘Threshold concept’ theory is presented as a means of framing such learning challenges, to highlight the professional development needs of designers of tertiary curricula. Critically reflecting on the author’s experiences of codesigning tertiary degree programmes in New Zealand, China and Fiji, this article identifies key conceptual thresholds that can challenge tertiary educators when seeking to align institutional teaching practices with contemporary global policies on arts education.


2021 ◽  
Author(s):  
◽  
Lauren A. Hermann

The articles in this work address histories of how visual art educators have come to exist within scholarship on teacher evaluation. This study, reconceptualized outside of methodology through a post qualitative framework of inquiry, embodies poststructural feminist theories of ethics, exemplifying living theory and process as 'lifework'. (Re)situating the evaluative experiences of art educators through their own visual stories grounded in feminist ethics where research acts as sacred practice invites an exploration of more relational ways of being as teachers, leaders, makers, and researchers. In turn, this research seeks to open spaces where we ask what becomes possible in evaluative practice when we look to the arts as a model. Opportunities emerge as the resistances of art educators reverberate beyond current systemic boundaries and offer a possibility to think differently about evaluation. Utilizing the practices of quilting, the work charts a new coursnowledge and think and perform research and teacher evaluation differently as a practice of mending, challenging (mis)representations, building relational trust through power shifts and receptive listening, and constructing a true capacity for connectedness.


Sign in / Sign up

Export Citation Format

Share Document