Handbook of Research and Policy in Art Education

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Show all. From the start, editor Liora Bresler points to the soft edges of disciplines and the boundary crossing that invites, setting the stage for a research tome that spans the artistic disciplines of music, dance, visual arts, and writing, including voices from different academic and geographical locations that travel on their own or intertwined within and across a variety of themes. The International Handbook of Research in Arts Education marks a substantive contribution to the literature on the arts in education and it is chock full of thoughtful, well documented reviews and discussions of past and current research—research that spans scholarship in aesthetics and arts in education as well as anthropology, cultural psychology, and curriculum theory.

Beyond its reach in terms of artistic disciplines and scholarly realms, however, the Handbook is in itself a boundary breaker defying expectation in both content and form. While Eisner and Day play by the rules producing an impressive compendium of scholarship for a. While Eisner and Day conscientiously frame the. The thirteen sections of the book, comprised of contributions from authors, are organized within and across the porous territorial boundaries of context history; technology; museums and cultural centers; informal learning; child culture; social and cultural issues and content curriculum; evaluation; composition; appreciation; the body; creativity; and spirituality.

Section editors begin their segments with a prelude that explicates the topic and the themes that emerge from the writings of individual or pairs of authors who focus on particular art disciplines. International Handbook Advisory Board members add commentaries related to these individual contributions from the perspectives of the 35 countries they represent.

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Unexpected in a compendium of this kind are the "expressive" interludes that punctuate the pace with artful personal re. Visual renderings of what appear to be montages of stone add metaphoric cadence to the section breaks, challenging their deliberately porous division. The contributors are an exciting group of scholars and practitioners, representing a range of disciplines and destinations.

Irwin and F. On the North American front there are the "giants" in the.

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Editor Liora Bresler was so intent on. Bruner, who was otherwise unavailable to make a contribution. As a thread woven through all sorts and many of the pieces of the whole of this work, the resonant voice of philosopher Maxine Greene serves as inspiration and ballast to author contributions whether she is speaking to issues of the arts as agents to awakening imagination or to exciting social justice. Just as Tom Barone dedicates his curriculum essay to his second and third grade teacher: "In the beginning there was Light and she was named Mrs.

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Eddy" p. In experiencing the cross-referencing that persists through the Handbook, we are aware, as we are with a work of art, of the process that went into the creation of this product. Stake takes fellow contributor Greene as inspiration; Arthur E. Interludes speak across voices; preludes speak across themes. The International Advisory Board members use as touchstones for their descriptions of arts education in their respective countries the domain speci.

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This lively discourse across contributor and contribution lends coherence to the broad range of treatises and perspectives included in the work, even as a lack of clear boundaries among topics challenges the internal cohesiveness of some of the different sections. Artistic symbols are distinguished by the ambiguity that opens them to multiple interpretations.

The ambiguity of the edges of its various sections may be another way in which the Handbook is like a work of art, but it adds considerable challenge to the work of section editors and contributors. Section editor Susan Stinson in her prelude to the section on curriculum explains: "… determining boundaries has been a challenge for all authors of the Handbook…[as] re.

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In part as a consequence of this "boundary bleeding" and of course because many of the contributors to this text are artists themselves we. In his interlude in the section on evaluation, Chris Higgins takes issue with the assertion that "Research is objective; art is subjective. Research discovers; imagination invents" p. The question for educational evaluation is not which method to choose or how to employ it, but how to notice…the dimensions of classrooms that are hiding in plain view" p.

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Like other contributions in the Handbook there is no apology here for the arts not being up to the clear edge-cutting of scienti. The focus here is on seeing more clearly, as artists do, "beyond the taken for granted" to what the arts in education in particular provide, those invaluable variables that may be "hiding in plain view. Minette Mans attempts to clarify the spectrum of learning experiences that can be included in the category of informal learning: "The spectrum of learning experiences can range from accidental, unintentional, or reluctant forms of learning to active, intentional, involved and highly valued forms of learning" p.

Introducing their section on social and cultural perspectives in arts education, Douglas Risner and Tracie Costantino speak to the breadth of their topic: "the enormity of social issues in arts education spans tremendous global research terrain" and to its overlap with other sections in the Handbook, "social issues permeate the educational fabric of curriculum, history, evaluation, the body, and technology" p. This section, which addresses fascinating recent research studies,.

But within the bristles of broad brush strokes lie issues that easily could each have had their own sections: gender, identity, diversity, social justice, critical pedagogy. The section on composition most interestingly addresses both the issues of how artists compose in different domains and how we teach students to compose. The theme of metaphor features large in that section and is gracefully addressed in interludes by Keith Swanwick and Michael Parsons.

The section on museums and cultural centers rightly includes an interlude by David Carr on the role of libraries. The section on child culture attends to the voice, vision, and values that children bring into class and that can be recognized, honored, ignored, or even exploited.

The section on body is heavy on mind, replete with philosophical overtone and reference, addressing learning and art making through the senses, the extent to which the body is represented in art, and the challenge of resolving the mind body problem with concepts like "embodied minds. Conversations of how we educate our soul are conspicuously absent in mainstream educational discourse and they feel rare and strange in a.

Section editor Rita L. Irwin speaks of "a longing for the spiritual" that holds steady amidst moving educational trends. Lankford, K. Kindler, Introduction: Development and Learning in Art. Kindler, Researching Impossible? Models of Artistic Development Reconsidered. Matthews, The Art of Infancy. Freeman, Aesthetic Judgment and Reasoning.

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Pariser, E. Zimmerman, Introduction to Teaching and Teacher Education. Galbraith, K.

Stokrocki, Contexts for Teaching Art. Erickson, Interaction of Teachers and Curriculum. Soep, Assessment and Visual Arts Education. Myford, A. Efland, Emerging Visions of Art Education. Dobbs, Discipline-Based Art Education. Efland, Art Education as Imaginative Cognition.

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Parsons, Art and Integrated Curriculum. Sullivan, Studio Art as Research Practice. Freedman, P. Rating details. Book ratings by Goodreads. Goodreads is the world's largest site for readers with over 50 million reviews.


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