The problem one is convinced at this juncture is not with the scope of the topic, but with the limitations of academic discourse. In this article, I suggest that aesthetics is at the heart of both artistic experience and qualitative research, and that artistic processes, in particular, the space surrounding art experiences, can illuminate significant aspects of qualitative research, including data collection, data analysis, and writing. Description and interpretation: From art to qualitative research 2011. This study describes the operational curriculum of arts education visual arts, music, dance and drama education in two elementary schools, using a qualitat ive, case-study methodology. She is co-editor, with Liora Bresler, of The Arts in Children's Lives: Context, Culture, and Curriculum 2002 , editor of The Visual Arts and Early Childhood Learning 1997 , and a section editor and contributor to The International Handbook of Research in Arts Education 2007. In this paper, I focus on the meso, institutional context - the structures and goals of the school system-, as they interact with the micro context -teachers' commitments and expertise-, and the macro context -the larger cultural and societal values. 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.
Interludes speak across voices; preludes speak across themes. In experiencing the cross-referencing that persists throughthe Handbook, we are aware, as we are with a work of art, of theprocess that went into the creation of this product. Adopting the two-year-old's haiku choreography, let me piecetogether a collage of points of interest. Los contextos influyen en qué y cómo enseñan los maestros, determinando mensajes explícitos e implícitos, y valores. Stake takes fellow contributor Greene as inspiration; Arthur E. 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. I conclude with reflections on ethical implications for aesthetically based research.
Editor Liora Bresler was so intent on. Topics such as assessment, creativity, cultural diversity, special needs, the arts in early childhood, adult education, arts based research, are all addressed by recognised authorities in each area. The contributors are an exciting group of scholars and practitioners, representing a range of disciplines and destinations. 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. 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 section on composition most interestingly addresses both the issues of how artists compose in different domains and how we teach students to compose. I recommend this text to any student of the arts in education and I suggest for their journeying forth they hold on to their hats in readiness for the boundary leaping and exploration of emotion this rigorous treatise daringly pursues. 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. Based on one case of a music and arts education project in which we participated, we explore in this paper the selected issues that arise in the conduct of qualitative teamwork, considering the unique aspects of team, as opposed to individual research. Each of these orientations implies different assumptions about the nature of art and arts education. Actors, musicians,painters, sculptors, poets, writers-all together in my classroom,confronting common themes from their different perspectives. Moreover, in the field of art education, areas of knowledge and expertise between researcher and researched often overlap.
I congratulate Liora Bresler and her star-studded dream team. From the start, editor Liora Bresler points to the soft edges ofdisciplines and the boundary crossing that invites, setting the stagefor a research tome that spans the artistic disciplines of music, dance,visual arts, and writing, including voices from different academicand geographical locations that travel on their own or intertwinedwithin and across a variety of themes. Providing a detailed overview of key concepts and practical challenges, the book combines theoretical insight with specific examples of innovative projects drawing on theoretical, historical and empirical research perspectives to inform understanding. That conversation, as I havetried to describe and demonstrate, is made up of voice and inquiry,struggle and triumph, diversity and direction, scholarship andcommunication, artistry and rigor, blurred boundaries, overarchingthemes, and sharp tips of icebergs tweaking complacency andinviting further research and discourse. Qualitative research: Lessons from music 2011. The International Advisory Board members use as touchstones for their descriptions of arts education in their respective countries the domain speci. Description: 1 online resource 2 volumes xxvi, 1627 pages : illustrations.
Had I had this volume in my classes, I could have asked my students to use it as a source in the spidering they will need to do. These areas include: History of arts education, curriculum, evaluation, cultural centers, appreciation, composition, informal learning, child culture, creativity, the body, spirituality, and technology. Conversations of how we educate our soul are conspicuously absent in mainstream educational discourse and they feel rare and strange in a. While Eisner and Day conscientiously frame the. As examples from the international cast, there's Peter Abbs from theUnited Kingdom writing ; Rita L. Review: Review in Arts and Learning Research Vol 23:1 The International Handbook of Research in Arts Education Bresler, L.
Lessons from the arts 2011. Robert Stake constructs his interlude as an admiring response to Greene's powerful Handbook re. While Eisner and Day play by the rules producing an impressive compendium of scholarship for a. The understanding of school music as a genre requires the understanding of the contexts that shape and define it. It exists between educational and artistic institutions. Davis founded and was the. While Eisner and Day conscientiously frame the.
The individual chapters address cross-cultural research related to the central theme of the section from the perspectives of the particular arts discipline. More than following a contract or a formula, ethical considerations are guided by a search for a deeper understanding, as well as a cultivation of a curious, compassionate frame of mind. Editor Liora Bresler was so intent on. Bruner, who was otherwise unavailable to make a contribution. Artistic symbols are distinguished by the ambiguity that opens them to multiple interpretations.
While music performances typically cater to insider audiences S. The paper presents four orientations of arts education: a the Social orientation arts as community builder ; b the Subservient to academics orientation; c the Affective orientation; d the Discipline-based orientation. Knowing bodies, moving minds: Towards embodied teaching and learning Kluwer: Dordrecht, Netherlands Bresler, L. 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. 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 very engagement with research parallels the engagement with the arts. Jessica Hoffmann Davis is the author of Framing Education as Art: The Octopus has a Good Day 2005.
While research can at times seem distant from practice, the Handbook aims to maintain connection with the live practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. If I wanted more from the International Handbook of Research in Arts Education, it was in this regard. Artistic symbols are distinguished by the ambiguity that opensthem to multiple interpretations. The contributors are an exciting group of scholars andpractitioners, representing a range of disciplines and destinations. 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. In comparison with the Handbook of Research and Policy in Art Education, edited by Elliot Eisner and Michael Day in 2004, a milestone in advancing the. We must cross boundaries; and we must make sense of the boundary crossing.