The many flavours of STEAM education for an inclusive environment

2021 ◽  
Author(s):  
Priscila Doran ◽  
Rosa Doran
Keyword(s):  
Interdisciplinary Learning ◽  
Diverse Classroom ◽  
Art Form ◽  
Steam Education ◽  
Big Ideas ◽  
Teachers And Students ◽  
Polar Science ◽  
Interactive Lessons ◽  
The Many ◽  
Specific Diet

<p>STEAM is often seen as the integration of an art form into the teaching of sciences. Although that is not necessarily wrong, it is a very limited view of the powerful tool that STEAM learning can be. Just like a pizza, STEAM education can have “many flavours” and each of these “flavours” can be focused on with different intensities.</p> <p>POLAR STAR is an Erasmus project that focuses on innovative educational methods. One of its pillars is an innovative STEAM methodology that focuses on delivering an engaging education for a diverse classroom. To make the methodology more understandable, the team has come up with an amusing exercise called “the pizza challenge”. It invites teachers to create a pizza. The aim is to reflect on the fact that even for a specific diet (for e.g., vegan), different people with choose different ingredients and flavours according to their likes and dislikes. Similarly, in a classroom, each student will have their likes and dislikes, their interests, their way of thinking and of working, turning them into unique “consumers”. With this parallel, teachers realize that it is important to offer different “flavours” to different students in a classroom.</p> <p>The POLAR STAR methodology offers teachers a variety of lesson planners, focusing on the different flavours of STEAM. It guides teachers into reflecting on their students and choosing one or more activity templates for a given lesson. These templates can focus on <strong>S</strong>TEAM (with special emphasis on a science-based activity), on ST<strong>E</strong>AM (with special emphasis on an engineering-based activity) and on STE<strong>A</strong>M (with special emphasis on an arts-based activity). By diversifying the way they deliver their lessons teachers will be reaching a wider diversity of students and providing them with more engaging, motivational and interactive activities.</p> <p>POLAR STAR integrates these methodologies in a diverse kit of activities provided for teachers and students, following the different activity templates, in the fields of Astronomy and Polar Science, as well as holistic interdisciplinary learning approach, based on the Big Ideas of Science.</p> <p>All teachers are welcome in the project and can find more information on the projects’ website: http://polar-star.ea.gr/. During this talk the STEAM methodology to deliver Astronomy and Polar Science interactive lessons will be presented.</p>

scholarly journals The “Big Ideas of Science” for the school classroom: Promoting interdisciplinary activities and the interconnection of the science subjects taught in primary and secondary education

2016 ◽  
Vol 2 (2) ◽  
pp. 72-89
Author(s):  
Tsourlidaki Eleftheria ◽  
Sofoklis Sotiriou ◽  
Rosa Doran
Keyword(s):  
Secondary Education ◽  
Teaching And Learning ◽  
Organizational Structures ◽  
Science Content ◽  
Interdisciplinary Learning ◽  
Curriculum Changes ◽  
Primary And Secondary Education ◽  
Big Ideas ◽  
Teachers And Students ◽  
Alternative Means

This paper presents the “Big Ideas of Science” set as an alternative means of organizing science educational content in an interdisciplinary way that goes beyond the traditional subject-based organizational structures. The “Big Ideas of Science” refers to a set of phrases which overarch all science subject domains and briefly describe our world; from the macrocosm to the microcosm. Building upon previous work done in the field, we introduce a set of phrases (eight) which constitute our proposed “Big Ideas of Science”. Our team carried out a research with teachers in primary and secondary education, and a small group of stakeholders, so as to examine the degree to which this set of phrases could facilitate science teaching and learning. In our research, we introduced to participants the “Big Ideas of Science” as an organization scheme that promotes interdisciplinary learning and it allows students to build more effectively on their existing knowledge by making connections between concepts and principles taught in different science disciplines. Our results indicate that such an organization scheme could be beneficial to teachers and students, as it can play or act as a backbone structure that promotes interdisciplinary science learning, and enable students to make easy connections between subjects taught. In addition, based on the feedback from stakeholders, the “Big Ideas of Science” could be helpful in promoting interdisciplinary learning, as they can be used to organize science content in schools in a sustainable way that is not affected by curriculum changes.

scholarly journals Using Drama in EFL Classroom

2019 ◽  
Vol 5 (2) ◽  
pp. 125
Author(s):  
Luh Angelianawati
Keyword(s):  
Language Learning ◽  
Teaching And Learning ◽  
English Learning ◽  
Practical Guideline ◽  
Efl Teaching ◽  
Teachers And Students ◽  
Research Findings ◽  
Potential Benefits ◽  
Efl Classrooms ◽  
The Many

Due to the many potential benefits and drama can offer in language learning, there has been a growing interest to use drama in ESL/EFL classrooms. However, the practice still causes many difficulties to both teachers and students due to several factors. This article reviews current theories and research findings on the use of drama in ESL/EFL teaching and learning to provide a better understanding of the use of drama to facilitate learning in EFL classrooms. It begins with current theories behind drama use in English learning. This section tries to clarify what drama is in the context of ESL/EFL, what benefits it offers, and what challenges teachers potentially meet. After that, the discussion focuses on a practical guideline for using drama in the classroom. It proceeds with a brief description of some useful drama techniques. The article ends by offering some concluding remarks.

Interdisciplinary Pedagogies in Higher Education

2017 ◽  
Author(s):  
Debora DeZure
Keyword(s):  
Higher Education ◽  
Problem Solving ◽  
Teaching And Learning ◽  
Interdisciplinary Learning ◽  
Professional Students ◽  
Online Tools ◽  
Interdisciplinary Problem Solving ◽  
The Many ◽  
Impact Of Technology ◽  
The Impact

“Interdisciplinary Pedagogies in Higher Education” explores the increasing integration of goals for interdisciplinary learning in American higher education. The chapter begins with working definitions of interdisciplinary learning and the many factors that have led to its proliferation. It then reviews the elaboration of new methods to teach and to assess interdisciplinary learning, emerging models of interdisciplinary problem-solving, and practice-oriented resources and online tools to assist undergraduate, graduate, and professional students and their instructors with interdisciplinary problem-solving and communications in cross-disciplinary and interprofessional contexts. The chapter concludes with the impact of technology, for example, e-portfolios and other digital and technology-enabled tools, and evidence of an emerging body of scholarship of teaching and learning focused on interdisciplinary learning.

Writing About Dance

2010 ◽  
Author(s):  
Wendy R. Oliver
Keyword(s):  
Critical Thinking ◽  
Thinking Skills ◽  
Critical Thinking Skills ◽  
Research Papers ◽  
Art Form ◽  
Writing Assignment ◽  
The Many ◽  
The Brain

Master the art of writing about dance! And learn about dance at the same time. This comprehensive guide provides students with instructions for writing about dance in many different contexts. It brings together the many different kinds of writing that can be effectively used in a variety of dance classes from technique to appreciation. In addition, it offers strategies for improving critical thinking skills, and shows how writing and critical thinking are closely linked. Part I focuses on informal writing such as freewriting, with sample exercises and prompts. Part II outlines approaches to writing three different kinds of formal papers: critiques, essays and research papers. Writing about dance teaches on two levels. First, the writer is learning dance content as s/he writes. Engaging in the writing assignment causes the writer to take a look at an aspect of dance and to become a 'momentary expert'. Secondly, writing itself is a way of learning. Writing involves the brain in three kinds of interaction, that is, the intellectual act of critically thinking, the physical act of writing or typing, and the visual aspect of seeing the writing on the page. The critical thinking and contemplation involved in writing can deepen students understanding of dance technique, dance creativity, and dance as an art form. Students will use this book on their own, or teachers may make assignments from it. It teaches about dance writing, but also about the very basics of dance appreciation.

Getting to “Know” STEAM

2020 ◽  
pp. 122-152
Author(s):  
Merrie Koester
Keyword(s):  
Science Curriculum ◽  
Integrated Approach ◽  
Creative Arts ◽  
Science Standards ◽  
Pedagogical Tool ◽  
Ocean Science ◽  
Deep Appreciation ◽  
Steam Education ◽  
National Science Standards ◽  
Teachers And Students

This chapter describes the evolution of an arts-integrated approach to science curriculum inquiry which has been evolving since the 1990s—before the national science standards, the acronym STEM, much less STEAM, appeared across educational horizons. It reads as ethnography and has been performed in community, in association with the most caring of souls, with the goal of achieving a more inclusive/empowering, aesthetic science education, and a deep appreciation of the importance of the creative arts in the science learning process. It presents two research-based iterations of STEAM education in practice: 1) the creation of arts-integrated middle school ocean science curricula and 2) the development of a pedagogical tool called the “Know”tation as a way for teachers and students to make learning visible and integrate the languages of science throughout the process of inquiry. The cases described here apply many features of the STEAM model developed in Chapter 2 of this book.

Aesthetics, Japanese

2018 ◽  
Author(s):  
Meera Viswanathan
Keyword(s):  
Natural World ◽  
Spiritual Awareness ◽  
Heian Period ◽  
The Arts ◽  
Art Form ◽  
Japanese Art ◽  
Single Moment ◽  
Taxonomic Approach ◽  
The Many ◽  
The Individual

While the terms ‘aesthetics’ and ‘philosophy’ were only introduced into Japan during the Meiji Period (post 1868), Japanese culture has nevertheless witnessed the proliferation of various arts and theories of art for over a millenium. Given that ‘aesthetics’ generally connotes a scientific, often taxonomic approach to the inquiry into beauty and art, it may be preferable to consider Japanese art and theories of art from the perspective of different ways of artistry, rather than impose on it alien categories and assumptions. Even our understanding about what constitutes art must alter when we consider such arts as the production of incense, the tea ceremony, the martial arts or flower arrangement, most of which do not have precise analogues in the West; or if they do, are not considered arts alongside poetry, drama, music and painting. One of the hallmarks of Japanese art is the emphasis on an awareness of nature. Not only is the natural world a rich storehouse of images and metaphors for use as subject matter, but it is also the means whereby the practices, values and aspirations of the art are defined. Significantly, art itself is seen to be catalysed directly by an encounter with the natural world. All living beings, we are told, are given to song. Yet the natural world also came to be a shibboleth in society among the members of the Japanese court, where a finely honed seasonal awareness came to attest to the refinement and sensibility of the individual. Of all the arts, poetry was seen as pre-eminent, in part because of poetry’s powers to influence the spirits inherent in the natural world. Even the emphasis on place and place-names in Japanese art may be traced to an understanding of the Japanese landscape and language as sacredly imbued. Another feature of Japanese art and theories of art is its orientation toward the human. In other words, we may define Japanese art as ‘expressive–affective’ in its configuration, stressing the experience of the artist as well as the response of the audience in encountering such a work. In fact, the two roles of artist and audience are related through the focus of the work of art, which usually frames a single moment and its quintessential significance, hon-i, which is unchanging. The quality which ideally characterizes both artist and audience is makoto or sincerity, underlining the point that the function of most Japanese art is to make us feel, rather than think. As in a number of other traditions, Japanese ways of art are bound up inextricably with issues of religion and religious practice. Not only did Shintō animatism have a profound impact on how Japanese viewed their landscape as well as their own lives, but other imported systems of belief also influenced the course of artistic development, especially Buddhism. Buddhism darkened the hues of classical Japanese art by introducing ideas such as mappō (Latter Days of the Law), which saw the present as degraded and corrupt with respect to the past, and mujō (inconstancy), or the awareness of the ephemerality of this phenomenal world. In Mahāyāna Buddhism, art was perceived as a means of religious awakening, both in the case of poetry viewed as a form of intense meditation (shikan) and as parables whereby the truth could be disseminated obliquely (hōben). This paved the way for the pursuit of various forms of art to become a path (michi) to spiritual awareness. The relation of teacher and student in an art form closely resembled the relation of spiritual master to disciple, a feature which is echoed in the various ‘secret’ artistic treatises whose form, approach and significance suggest esoteric Buddhist manuals setting forth precepts for future generations. Japanese theories of art also concerned themselves with various aesthetic ideals, distillations of the changing notion of beauty in each era. From aware (the beauty inherent in transience) and miyabi (courtly beauty) during the Heian Period (784–1185), to yūgen (the beauty of mystery and overtones) and sabi (the beauty of desolation and loneliness) in the medieval period, finally to wabi (the beauty of dearth and the humble) and karumi (the beauty of playful lightness) during the Edo Period (1600–1868), to mention only a few of the many ideals, we see an evolution of ideals as a response to cultural and historical change. What becomes evident in any survey is the assumption of an underlying unity, as in the notions that the impulse toward art is natural and universal; that art functions as a bridge mediating the experience of artist and audience; that sincerity and heart are to be privileged above all other qualities; and that the discipline of art can be a means of spiritual awakening. But we also discover that ideas, such as play, are critical to all forms of art in Japan. Other issues have surfaced periodically in various art forms in the course of Japanese history, such as the struggle between tradition and innovation or the debate about art as spontaneous versus art as the product of careful cultivation (that is, the question of artifice in art), or the question of the singularity of Japanese art.

The Rise of Cantonese Opera

2015 ◽  
Author(s):  
Wing Chung Ng
Keyword(s):  
Social Life ◽  
Cultural Landscape ◽  
Performance Style ◽  
Traditional Art ◽  
Ethnic Chinese ◽  
National Theatre ◽  
Rural Market ◽  
Art Form ◽  
Cantonese Opera ◽  
The Many

Defined by its distinct performance style, stage practices, and regional- and dialect-based identities, Cantonese opera originated as a traditional art form performed by itinerant companies in temple courtyards and rural market fairs. In the early 1900s, however, Cantonese opera began to capture mass audiences in the commercial theaters of Hong Kong and Guangzhou—a transformation that changed it forever. This book charts Cantonese opera's confrontations with state power, nationalist discourses, and its challenge to the ascendancy of Peking opera as the country's preeminent “national theatre.” Mining vivid oral histories and heretofore untapped archival sources, the book relates how Cantonese opera evolved from a fundamentally rural tradition into urbanized entertainment distinguished by a reliance on capitalization and celebrity performers. It also expands analysis to the transnational level, showing how waves of Chinese emigration to Southeast Asia and North America further re-shaped Cantonese opera into a vibrant part of the ethnic Chinese social life and cultural landscape in the many corners of a sprawling diaspora.

Power in Hatha Yoga Communities and Classes:Understanding Exclusion and Creating Space for Diverse Cultures

2007 ◽  
Vol 17 (1) ◽  
pp. 51-56
Author(s):  
Traci Michelle Childress
Keyword(s):  
United States ◽  
Learning Process ◽  
The United States ◽  
Hatha Yoga ◽  
Cultural Backgrounds ◽  
Teachers And Students ◽  
Diverse Community ◽  
The Many ◽  
The Relationship ◽  
Diverse Cultures

Power is an important dynamic in the Yoga community that influences who has access to the knowledge of Yoga and how that knowledge is shared. To create an ethic of inclusion in Yoga communities, we must consider the many ways in which people experience Hatha Yoga—especially the experiences of individuals who come from cultural backgrounds other than our own. Because it is difficult to see the ways in which cultures—our own and those of others—are seen, experienced, and responded to, it is easy to imagine that the reason that Yoga classes in the United States tend to be homogeneous is based on some inherent natural truth at work. To create space for diverse cultures in Yoga communities, we must recognize that (1) Both teachers and students bring knowledge and culture with them to the relationship, and that (2) Teachers (and institutions) should be held accountable to their perspectives, biases, and opinions about their own and others' cultural backgrounds. To create a diverse community, there must be an understanding of the human-ness of both the teacher and student, and of the inherent relationship that influences the learning process.

FORMATION AND USE OF THE DEVELOPMENT CAPACITY OF REGIONAL ECONOMIES CENTRAL FEDERAL

2019 ◽  
Vol 7 (6) ◽  
pp. 255-262
Author(s):  
Demyanenko A. E.
Keyword(s):  
Federal District ◽  
Specific Weight ◽  
Regional Economies ◽  
Central Federal District ◽  
Bank Deposits ◽  
Development Capacity ◽  
Teachers And Students ◽  
Economic State ◽  
The Many ◽  
Regional Product

Purpose: The research is devoted to the potential of economic development of regions of Central Federal District, in a section of determination of regularities, trends, and features of their social and economic state and development. Methodology: The conducted research is based on materials of official state statistics, with the use of a method of komparativny analysis. The carried-out analysis allows revealing a row specific, observed on regions of Central Federal District, regularities, trends and features of a social and economic state and development. Result: Essential distinctions on the analyzed territorial subjects of the federation, investments and bank deposits making considerable specific weight in the consumer investment portfolio of potential of development of regional economy are revealed. Integrated assessment of the indicators demonstrating the many-sided nature of specialization of regional production is carried out taking into account their correlation importance information of a gross regional product. Applications: This research can be used for universities, teachers, and students. Novelty/Originality: In this research, the model of the Formation and use of the Development Capacity of Regional Economies Central Federal is presented in a comprehensive and complete manner.

scholarly journals The Power of Parental Contact: Strategies for Teaching in Highly Transient, Urban Classrooms

2020 ◽  
Vol 4 (1) ◽  
pp. p93
Author(s):  
Donna R. Sanderson, Professor
Keyword(s):  
Parental Involvement ◽  
High Mobility ◽  
Practicing Teachers ◽  
School Connection ◽  
Teachers And Students ◽  
Single Strategy ◽  
The Many ◽  
Home And School Connection ◽  
Urban Classrooms ◽  
Home And School

Research states that parental involvement is associated with student success and achievement. Research also documents that currently in our society students are transferring in and out of schools at an alarming rate. Urban schools, in particular, are subject to high mobility subpopulations, and the student movement can penetrate the interaction of teachers and students around learning. This purpose of this article explores the many ways practicing teachers in an urban school in Pennsylvania are reaching out to parents of highly transient students in an effort to foster a stronger home and school connection and increased student learning. The results show that teachers use a myriad of strategies to connect with parents and not one single strategy proves to work best.

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