International Journal of Education through Art
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TOTAL DOCUMENTS

498
(FIVE YEARS 142)

H-INDEX

9
(FIVE YEARS 2)

Published By Intellect

2040-090x, 1743-5234

2022 ◽  
Vol 18 (1) ◽  
pp. 33-49 ◽  
Author(s):  
Dairai Darlington Dziwa ◽  
Louise Postma ◽  
Louisemarié Combrink

Zimbabwe is a patriarchal society characterized by gender dichotomy and male domination that permeates through social, educational and domestic spheres resulting in numerous challenges for art teacher education students. Expanding critical consciousness within art teacher education programmes is an imperative step towards developing art teachers who are self-aware and reflexive concerning the intersections of gender, art and education. This study investigated how engagement with visual art can provoke a heightened critical awareness about gender bias, stereotyping and equity among Zimbabwean art teacher education students. Sixteen selected art teacher education students (eight males and females) at the Great Zimbabwe University participated in the study. Participants were guided by researcher-constructed prompts for purposes of image making, interpretation and dialogue. Visual discourse analysis of the students’ visual narratives and discourse analysis of focus group transcriptions revealed several themes as well as evidence of critical reflection and expanded critical awareness related to gender issues. Visual and dialogic methods offer promise for critical engagement and reconciliation of tensions surrounding issues of gender amongst art teacher education candidates.


2022 ◽  
Vol 18 (1) ◽  
pp. 105-121 ◽  
Author(s):  
Veronica Garcia-Lazo

Abstract A study in three secondary schools in Aotearoa New Zealand explored students’ critical thinking and how that was articulated in visual arts education. The research was motivated by the influence of everyday visual experiences on young people’s lives and the national curriculum’s call for encouraging critical thinking in the context of the students’ cultural milieu. This inquiry entailed multiple methods that included policy analysis, focus group interviews with teachers, interviews with students, classroom observations, photographic documentation and researcher engagement with the art of collage. A/r/tography allowed for the reconciliation of art, research and education and the exploration of liminal spaces through a relational inquiry. The collage process provided insights into how art making can be used as a relational device between researcher and participants that evoked findings in innovative ways. The findings are presented as entanglements of meanings aimed to provoke the imagination and open conversations.


2022 ◽  
Vol 18 (1) ◽  
pp. 75-88 ◽  
Author(s):  
Jennifer Bergmark ◽  
Stephanie H. Danker

Two university art educators engaged in research to explore issues of race and representation through examining the histories of race-based mascots at their two Midwestern US universities. Collaborative inquiry allowed for reflective practice, dialogue and critical listening as part of extended conversations to examine the stereotyping of Indigenous1 culture and images with students and community members. Issues of race, representation, stereotyping and systemic racism were explored with university art education students, faculty and Myaamia citizens (Miami Tribe of Oklahoma) in a workshop setting. Conversations within the workshop aimed to extend understandings about the cultural and artistic traditions of the Miami Tribe and strengthen cross-institutional and community relationships. Post-workshop analysis of the collaborators’ correspondences was analysed to reveal three themes: relationships and voice, representation and acknowledgement. Reconciliation is discussed as ongoing and mutual effort involving a continuous process of critical reflection, listening and dialogue necessary for building relationships and to learn directly from Indigenous peoples.


2022 ◽  
Vol 18 (1) ◽  
pp. 3-9
Author(s):  
Sheri R. Klein

2022 ◽  
Vol 18 (1) ◽  
pp. 126-128
Author(s):  
Mary Stokrocki
Keyword(s):  
New York ◽  

Review of: Multidisciplinary Approaches to Art and Creativity: Fostering Artistic Exploration in Formal and Informal Settings, Karen Knutson, Takeshi Okada and Kevin Crowley (Eds) (2020) New York: Routledge, 296 pp., ISBN 978-0-81536-188-6, e-book, £33.29


2022 ◽  
Vol 18 (1) ◽  
pp. 129-131
Author(s):  
Alexandra Davenport

Review of: ‘Art education in the age of COVID-19’, The Museum of Contemporary Art (2021) https://www.youtube.com/watch?v=2kgukEQd6Mg (YouTube)


2022 ◽  
Vol 18 (1) ◽  
pp. 123-125
Author(s):  
Richard Hudson-Miles
Keyword(s):  

Review of: Avant-Garde As Method: Vkhutemas and the Pedagogy of Space, 1920–1930, Anna Bokov (2020) Zurich: Park Books, 624 pp., ISBN 978-3-03860-134-0, h/bk, €58.00


2022 ◽  
Vol 18 (1) ◽  
pp. 11-32
Author(s):  
Nish Belford

Reconciliation is a contested term often associated with postcolonial discourses, contending with global histories of injustice, racial discrimination and dispossession that affect diverse groups (slaves, indentures or Indigenous people). Reconciliation stories mainly encounter resistance when problematized by individual experiences. As a woman of Indo-Mauritian indenture descent, I explore my ancestral stories from gendered dimensions: hailed by hardships, discrimination and patriarchal norms from colonialization and its legacies. I discuss my perceived subalternity and disempowerment in defining my positioning and identity. From an arts-based inquiry, I use bricolage to combine art·I/f/act·ology, evocative auto-ethnography and emotional reflexivity in framing emotion-based writing. Intersectionality as a theoretical lens situates the influences of race, culture, ethnicity, caste, gender and identity processes within my narratives. The discussion emphasizes a voiced resistance and conflict with reconciliation. My visual narratives display and are rooted in the listening and co-ownership of ancestral stories as mine, wherein I find voice and agency.


2022 ◽  
Vol 18 (1) ◽  
pp. 51-73 ◽  
Author(s):  
Mousumi De

The 26/11 Mumbai attacks in India severely impacted the already strained Indo–Pak political relations and fuelled prejudice against the common people of Pakistan. Since the attacks, Indian people have found various expressions of collective memory and ways to commemorate the incident. While these serve as a remembrance of the attack, it also reinforces negative attitudes towards Pakistan and its people, hindering any prospects of peace and reconciliation. This article describes a peace education through art initiative implemented in a high school in Mumbai. It draws from a synergy of theoretical concepts in peace, reconciliation and conflict transformation for its curricular framework that has three inquiry processes: Examine–Envision–Envisage. This article describes the implementation and outcomes of the initiative that support the value of an integrated peace- and reconciliation-focused art education pedagogy aimed at promoting reconciliation in relation to ongoing/intractable conflicts. Furthermore, it highlights the importance of addressing negative emotions inherent in ongoing conflicts and how empathy might contribute towards reducing prejudice towards the ‘Other’.


2022 ◽  
Vol 18 (1) ◽  
pp. 89-103 ◽  
Author(s):  
Adam Wahida ◽  
Muhammad Hendra Himawan

Conflict claims for the cultural heritage of batik between Indonesia and Malaysia have created tensions between the people of these two countries. The Indonesian and Malaysian governments have never involved academics and arts education institutions in resolving such conflict claims, yet, these communities can play a significant role in post-conflict reconciliation efforts. This article describes a conflict reconciliation method initiated by academics, artists and art educators through a collaborative art project between art higher education institutions in Malaysia and Indonesia. Ways in which collaborations within and across the art and education communities may address the understanding and reconciliation of issues related to cultural heritage conflict are explored.


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