List of publications related to a/r/tography from the year 2024: Journal articles, book chapters, dissertations, and theses:
Please note that these works mention or use a/r/tography and not all of them focus on a/r/tography explicitly.
LU: 14/MAY/2026
Al-Abbas, M. B. M., Al-Atoum, M. S., Alsaggar, M. A., Abu-Hammad, R. M., & Al-Qudah, M. M. (2024). The other: Homage to Edward Said. Theory and Practice in Language Studies, 14(5), 1567–1575. https://doi.org/10.17507/tpls.1405.30
The current investigation aims to explore the multimodality of the visual language in cinema, which articulates pictures and words into a creative medium of contemporary aesthetics and criticism. This multimodal discourse analysis focuses on Al-Akhar (The Other, 1999), a film that renders the postcolonial philosophy of Edward Said (1935-2002), the Palestinian-American critic. Youssef Chahine (1926-2008), the Egyptian cinematic artist, produced this film. The present creativity of multimodal cinematic visual language is significant in articulating form and content, where expressive components manifest through graphic, aesthetic, and semiotic symbolisms overlapping with local/global cinematographic ecologies. Three decades ago, Al-Akhar imagined today’s media dominance when it criticised the sociopolitical landscape of the 1990s, which led to a series of inhumane incidents across different geographies at the beginning of the new millennium. It investigates the impacts of media and globalisation on Arabic social systems, discussing economies and cultural heritage with imperialism, colonialism, and capitalism. This paper aims to identify Youssef Chahine’s cinematic art as a medium of Edward Said’s criticism. Methodologically, it adopted the aesthetic analysis as a qualitative research method to explore the visual language in the cinematic medium. The research’s question corresponds to the critical role of media in rendering the cultural issues of identity from aesthetic perspectives. This paper is significant because it explores the impact of critical thinking on multimodal media, which aesthetically incorporates language, fashion, architecture, sociology, philosophy and education. Furthermore, it identifies a significant dualism in art resembling a multimodal articulation of Edward Said’s criticism and Youssef Chahine’s cinema.
Altay, Ş., & Özgündoğdu, A. F. (2024). SANATSAL VE UYGULAMALI ARAŞTIRMA YÖNTEMLERİNİN SERAMİK SANATI ODAĞINDA AKADEMİK BİR DEĞERLENDİRMESİ. Art-E, 17(34), 691–716. (182542505). https://doi.org/10.21602/sduarte.1544033
This study focuses on artistic and applied research methods and their possible contributions to ceramic art from an academic perspective. For this purpose; in study foreign literature in research fields such as artbased research, practice-based research, practice-led research, artistic research and a/r/tography, which started to take shape after 1990, are presented. Additionally, how the research methods that gave rise to these approaches have been shaped in history and the development of academic understanding in the field of art in higher education are presented through sources. The research then shifts focus to postgraduate studies in ceramics and ceramic materials, discussing why these research methods, which emphasize process over final product, have a unique potential for the field of ceramics. The study also offers suggestions and conclusions. In an effort to provide answers to the possible concerns that these research fields may raise, this study attempts to create a framework with all its historical, theoretical and practical aspects. The study suggests that these methods, which create a flexible and unique space for the researcher and broaden the boundaries of scientific acceptance, should be embraced more by the ceramics discipline.
Anne Cecilie Røsjø Kvammen, & Hagen, J. K. (2024). Putting it together. Nordic Journal of Art and Research, 13(3). https://doi.org/10.7577/ar.5468
This article demonstrates how collaborative teaching in the field of musical theatre has served as a platform for uncovering the research methodology of artography. This methodology explores the intricate entanglement of the roles of artist, researcher, and teacher. The reorganization of a new curriculum and collaborative teaching among a group of teachers at the bachelor program in musical theatre at Kristiania University College forms the basis of our reflections. We, the two authors, were involved in this process. We connect these experiences to theories of artography and collaborative teaching. We argue that our multidisciplinary artographic awareness relied on certain conditions of growth within the teacher group. These growth conditions include: 1) a culture of sharing pedagogy among colleagues, 2) working beyond an individual’s level of comfort through co-teaching and 3) reevaluating teaching habits. Cover photo: Johanne Karen Hagen
Baldus, A. I. (2024). Art, address, and correspondence: Variations on pedagogical presence [The University of British Columbia]. https://doi.org/10.14288/1.0440958
This dissertation considers pedagogical presence through material and conceptual variations on correspondence. Presented as artistic research the work aims to address the question what happens in art and correspondence that enables pedagogical presence? Permissions are taken (Lucero, 2023) from scholars and artists working in the arts-based methodologies of a/r/tography (Irwin, 2013) and research-creation (Loveless, 2019) and the autobiographical, educational, practices required to do currere (Pinar, 1974) and feminist reflexivity (Wilkinson, 1988). Together their influence permits the use of correspondence as an experimental and conceptual art practice, and a way of doing research in education. The work acknowledges variations on lived experiences, and the descriptions of experiences (Ellison, 1955), that make correspondence art and a pedagogical object to study. The first chapter the author responds to the work of different artists, poets, writers, and activists who have influenced their understanding of pedagogy. The second chapter features letters between the author and eight participants who joined the author in a correspondence art exchange. The third chapter pushes conceptual and abstract ways of thinking about correspondence and shows how the concept of correspondence travels as it is oriented towards different lines of thought (Bal, 2002). Preluding chapter three the author claims that art is indefinite. Sharing this belief before expanding the notion of correspondence suggests that what comes before and after this part of the dissertation is aware of and interested in its artistic engagements and qualities. The last chapter presents conversations held with participants during a Twitch livestream as evidence of how correspondence might be sustained through different materials. The paper concludes with final thoughts about where this work can go, how, and why it should continue. Pedagogical presence emerges through many variations on correspondence. The dissertation acknowledges the tension between individual experience and collective thinking that happens across different kinds of distance – created through time and difference. The author suggests that correspondences can help enable pedagogical presence which in many ways encourages reflection on our experiences alone and in community. These practices might be considered a kind of study rooted in a desire to live more ethically responsive and curious.
Barrera-García, Á., & Álvarez-Rodríguez, D. (2024). The body-camera approach: Teacher identity through video elicitation and video essay to create shared heritages. Heritage, 7(4), 2055. https://doi.org/10.3390/heritage7040097
This paper presents an approach to teacher identity heritage as a result of the implementation of a research device created through Arts-Based Research (ABR) methods, specifically with video elicitation and video essays used as research tools. Two main objectives were addressed. The first one was to establish the real relevance of focusing performance on teacher identity. The second one involved testing a new methodological proposal specifically designed for this purpose, but still useful in other contexts where heritage identity is as present as in teaching. The device, a body camera, involves a process that allows new ways to understand the creation of identities using video to encourage the production of new meanings through visual and oral data. The participants were teachers in training during their internship period. Some notions about teachers’ identity heritage were revealed, and also preserved, firstly through personal perspectives by video elicitations, and secondly through collective perspectives by video essays. Both are video structures used in ABR which mix creative experience, memories, life experiences, relationships, and links that shape the teachers’ professional identity.
Berndsen, M., Haastrup, L., & Jørgensen, I. U. (2024). Artografiske bevægelser: Mod at blive artograf i en materiel kulturdidaktisk praksis. Nordic Journal of Art & Research, 13(3), 1–38. https://doi.org/10.7577/ar.5469
Med et fælles rodnet i kandidatuddannelsen Materiel Kulturdidaktik, hvor klassisk dannelsesteori og tværdisciplinære kulturteorier forbindes i nyere materialistisk tænkning, vil vi i artiklen præsentere en tredimensionel artografimodel. Når vi tager modellen med os på besøg ved hinandens borde, bliver den anledning til fortællinger og fælles feltarbejde om, hvordan bordpraksisser gøres. Omkring bordene skabes slægtskab i samtaler og stadige eksperimenter med kunst, mad og måltider. Omkring bordene bliver vi til som artografer og forstår i den fælles undersøgelse med modellen, hvordan art (A), research (R) og teaching (T) har været med os som adskilte eller sammenvævede spor gennem vores dannelsesprocesser i tid og rum. Vores bidrag til A/R/Tografiens landskab er med modellens enkle struktur og tilføjelsen af positionen S for student at pointere dannelsen for alle deltagere, forankret i sociomaterielle felter. Gennem bevægelser mellem vores tre spiseborde og Bakkehusets nye samtalehjørne vil vi fremskrive et materielt dannelsesbegreb som kan føre frem til at kunne omskrive A/R/Tografi fra en metode til en samlet artografisk praksis.
Bernsen, A. S. (2024). «Jeg kommer med gull»: – Om lekende interaksjonsformer og barns ulike uttrykksmåter. Formakademisk, 17(1). https://doi.org/10.7577/formakademisk.5764
Artikkelen utforsker hvordan ulike interaksjonsformer i iscenesatte rom kan ha betydning for barns deltakelse og uttrykk i barnehagen. Gjennom en a/r/tografisk tilnærming søker studien kunnskap om samskapende prosesser med barn, der objekter og materialer i iscenesatte rom spiller en betydelig rolle. Analyseprosessen kombinerer en utforskende analysetilnærming med en strammere tematisk analyse. To hovedkategorier identifiseres; regelstyrte interaksjonsformer og lekende interaksjonsformer. Utforsking og analyse av dette begrepsparet bidrar til å gi innsikt i eksisterende pedagogisk praksis, og øker den helhetlige forståelsen av barns varierte uttrykksmåter, både kroppslige og verbale. Studien understøtter viktigheten av å inkludere lekende interaksjonsformer for å støtte alle barns uttrykksformer, og synliggjør derfor at det er behov for en bredere diskusjon om barns muligheter til aktiv deltakelse i sin egen barnehagehverdag.
This article explores how different forms of interaction in staged spaces can affect children’s participation and expression in Early Childhood Education and Care (ECEC). Through an a/r/tographic approach, the study seeks knowledge about co-creative processes with children, where objects and materials in staged spaces play a significant role. The analysis process combines an explorative analytical approach with a tighter thematic analysis. Two main categories are identified: (1) rule-based forms of interaction and (2) playful forms of interaction. Exploration and analysis of this concept pair contribute to insight into existing pedagogical practices and increase the holistic understanding of children`s varied expressions, both bodily expression and verbal. The study emphasizes the importance of including playful forms of interaction to support all children`s expressions and thus highlights the need for a broader discussion about children`s opportunities for active participation in their own everyday life.
Borgenvik, K., & Tvedte, C. (2024). Med blikk på staden gjennom grafikk på tørkesnor: Eit essay om korleis forfall og stader i byen får rom i ein kollektiv skapande prosess med tresnitt. Nordic Journal of Art & Research, 13(3), 1–47. https://doi.org/10.7577/ar.5475
The project “between” is a collaborative art project that resulted in printmaking on clotheslines, as part of the Haugesund International Woodcut (HIT) and AVTRYKK festival in 2019. Through an a/r/tographic approach with walking as a method, we explored how a shared city walk with cameras as a sketch tool, provided impulses for the creative process in the printmaking studio. We explored woodcut in relation to place, history, traces, and texture. Five arts and craft teachers from the secondary schools in Haugesund participated as co-creators. The result was a site-specific printmaking installation, in a private backyard in Haugesund. The choice of Haugesund city as both visual images for the woodcuts and the exhibition site, became crucial for the project. In this essay, we wish to examine the concept of place and reflect on how the aesthetic approach opened our eyes to the qualities of the place.
Boston, J., & Johnson, N. F. (2024). The benefits of a literacy and numeracy service-learning program for pre-service teachers: A partnership approach. Issues in Educational Research, 34(2), 419–435.
The Partners in Literacy and Numeracy Western Australia (PLaN WA) program was implemented within a School of Education to complement initial teacher education offerings. In forming a mutually beneficial service-learning program, schools received support from pre-service teachers to assist both primary and secondary students with their literacy and or numeracy. This paper presents findings from two focus group interviews and pre- (n = 130) and post-surveys (n =54) continuously since the program’s instigation in 2019. The pre-service teachers benefited from the low stakes, voluntary, non-assessed experiences. They claimed they moved towards being more confident in achieving the graduate career stage of the Australian Professional Standards for Teachers. While we anticipated pre-service teachers would gain more confidence in their own literacy and/or numeracy and in teaching aspects of these, instead, pre-service teachers gained overall confidence to teach from program participation.
Brooke, S., MacDonald, A., & Hunter, M. A. (2025). Becoming Ecological: The Contribution of Collaborative a/r/tography to Generalist Primary Teachers’ Agency in Arts Education. Qualitative Inquiry, 31(2), 201-215. https://doi.org/10.1177/10778004241231920
Internationally, it is widely acknowledged that many generalist primary teachers (GPTs) enter the teaching profession with a paucity of arts practice and pedagogic skills. Many perceive a lack of confidence, competence, and community to change this, particularly in regional and isolated teaching contexts. As a means to address this, this article considers the value of engaging in collaborative a/r/tography as a means of developing more creative ecological approaches to teacher professional development and learning. A multimodal storied assemblage of four primary teachers’ experience of engaging in collaborative a/r/tography is explored, and through diffractive analysis, the authors surface the intra-acting affective agents that enable metho-pedagogic learning possibilities. Specific ways in which collaborative a/r/tography works to foster GPTs’ curricula and metho-pedagogic sensibilities, as well as a sense of creative ecology, are addressed. Speculation as to the ways in which collaborative a/r/tography fosters GPTs “becoming ecological” in relational practices and processes of curriculum enactment and pedagogical engagement is offered thereby contributing to understandings of the generative capacity of a/r/tography as a framework for developing teacher agency and change.
Bruun, E. F., & Rønningen, L. H. (2024). A/r/tografi som performativ pedagogikk i teaterproduksjon. Nordic Journal of Art & Research, 13(3), 1–25. https://doi.org/10.7577/ar.5491
This article examines how a/r/tography can be used as performative pedagogy in theatre production. Based on Rita Irwin’s view of a/r/tography as a dynamic way of learning we explore how bachelor students in drama/theatre can embody the role of artist-researcher-teacher. The empirical data stems from a course in devised theatre. Each student group produced a performance in collaboration with young people, and the role of the drama teacher was central for the artistic process. In the analysis we found three key insights for the implementation of a/r/tography as a learning strategy: (1) emphasis on artistic will paired with the teacher’s deep listening skills, (2) emphasis on modelling experiential knowledge as teaching/learning strategy, and (3) the benefit of the a/r/tografic researcher position. All in all, we see that the students’ awareness of the interweaving of the three roles, artist-researcher-teacher, facilitated a deeper learning and understanding of the theatre production process and the reference group’s life world.
Burke, G., Irving, P., Nardella, M.-L., & Shimmen, H. (2025). Refluxus – four soluble heads: Collective play through domestic art pedagogy. In A. Walker, H. Grimmett, & A. L. Black (Eds.), Ludic inquiries into power and pedagogy in higher education: How games play us (1st ed., pp. 235–252). Routledge. https://doi.org/10.4324/9781003450979-22
This chapter shares artful games initiated by Refluxus Art Collaborative that wholeheartedly embrace ludic play, Surrealist games, and the chance events of the Fluxus movement as explored through socially engaged practice. Coupled with creative subversion of everyday objects and newsworthy events, Refluxus art-play enacts a refreshing form of ‘domestic’ pedagogy. As artists/educators and working/mothers, Refluxus established a femin-isto that (re)welcomed the imaginative (wo)man at play as an intuitive and creative visionary to the home environment. Collectively their work responds to domestic duties, political injustices, and ‘normative’ forms and representations of play through artmaking. By glancing back/forward, they reflect on how Refluxus enabled them to respond to the seriousness of the art world and to work outside of institutional boundaries in ways that sustained connections to broader culture. They discuss the ‘rules of the games’ they played and favourite (re)gurgitations of contemporary culture that built artistic efficacy for ongoing artistic/pedagogical practices. Through narrative and artworks their game-filled encounters create openings, reverberations, and irritations to status quo art/practice/pedagogy. To end, they share a speculative game devised for their own and others’ senior years; humorously and creatively challenging the reader to engage in artful play with Refluxus-infused spirit.
Casham, S., Sheridan, L., & Agostinho, S. (2024). Artistry in teaching: A systematic literature review of the research spanning 50 years (1972–2022). Teaching and Teacher Education, 152, 104804. https://doi.org/10.1016/j.tate.2024.104804
Artistry is the personalisation and creativity essential to good teaching. A systematic literature review examined empirical work in classroom contexts over 50 years. The review found 30 studies from SCOPUS, Web of Science, and ERIC databases that examined artistry in teaching regarding aesthetical dimensions, how artistry improves a teacher’s skills and thinking, and illuminates artistry’s importance. Six themes emerged: artistry is defined differently, undermined by measurements, essential to good teaching, helps form strong social bonds and free-thinking, induces rich aesthetic experiences, and is philosophically holistic and disruptive. A model of artistry is presented with recommendations for future research.
Coleman, K., Healy, S., MacDonald, A., & Cook, P. J. (2024). Speculative a/r/tography. In H. Kara, D. Mannay, & A. Roy (Eds.), The handbook of creative data analysis (pp. 422–436). Policy Press. https://doi.org/10.51952/9781447369592.ch029
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Colomina-Molina, T. (2024). Educación Artística e Inclusión en Magisterio: Aproximación a lo Decolonial y las Estéticas-Otras mediante un Proceso de A/R/Tografía. Revista Internacional de Educación para la Justicia Social, 13(2), 151–169. https://doi.org/10.15366/riejs2024.13.2.009
El movimiento decolonial denuncia al sistema occidental imperante por invisibilizar y desnaturalizar la diversidad, la cultura, el conocimiento y las estéticas-otras. Los centros educativos acogen estudiantes de diversas procedencias y subjetividades que no se reflejan en el currículo oficial. Disciplinas visuales como la performance o la fotografía han tenido importancia en el arte como herramientas de denuncia para una sociedad más equitativa. El objetivo principal de esta investigación es descubrir si el enfoque decolonial y a/r/tográfico se complementan de forma activa para ampliar la práctica artística intercultural e inclusiva de estudiantes del grado de educación primaria. Desde una metodología de investigación basada en las artes (IBA) y un enfoque a/r/tográfico, el alumnado tiene que investigar, crear y generar aprendizaje sobre racismo, machismo y homofobia mediante referentes artísticos. Los resultados obtenidos, de naturaleza cualitativa, se presentan a través de imágenes y reflexiones dialógicas colectivas. De este análisis se desprende, a modo de conclusión, que este tipo de dinámicas contribuye a la comprensión de cómo las prácticas artísticas y la investigación pueden converger para desafiar y transformar narrativas hegemónicas, abogando por una educación más equitativa y reflexiva.
Cook, P. (2024). Choreographic practice in online pedagogy. Palgrave.
This book examines a creative approach to exploring choreographic practice artistically, theoretically, and pedagogically. It explores the interweaving of dance, dance teaching, dance onto-epistemologies, and choreography with a particular focus on creating dance with digital technologies. The idea of centring choreography in dance education fundamentally challenges typical conceptions of best practice in the preparation and delivery, appropriateness, and effectiveness of dance performance, teaching and learning experiences. It purposefully privileges creativity as a critical learning paradigm, extending the ways in which creativity studies are enriching performance scholarship as well as performance teaching. The book acknowledges the importance of the artist teacher nexus and presents choreographic practice as the centre of learning in dance, with a focus on digital platforms.
Davis, B. (2025). Semi-staging Written On Skin: An experiment in the “doubleness” of lived experience and unfolding performative invention. In P. Gouzouasis & C. Wiley (Eds.), The Routledge companion to music, autoethnography, and reflexivity (pp. 106–121). Routledge. https://doi.org/10.4324/9780429330049-9
In this a/r/tographic inquiry, I draw upon my own creative practice and working records as a stage director of George Benjamin and Martin Crimp’s operatic collaboration Written On Skin (2012), to give context to an interrogation of the opera’s themes. Contemporary notions of liminality, agency, and performativity are central to this opera as well as to reflexivity, autoethnography, and practice as research. In the light of my own experience, I revisit the theatrical strain of the performance paradigm, in which the liminoid nature of performance is foregrounded to consciously present material to be embodied and interpreted. My own journey with this opera has traversed political, social, and cultural realms in a process of experimentation with changing casts, players, and conductors to stage and tour it extensively. Thus, I critically reflect on my own processes of generating a hybrid “semi-staging” as a distillation of the opera’s world premiere production within performance conventions of the concert platform. Finally, addressing the “doubleness” of being both practitioner and researcher, I reflect on the wider implications of my experience in this case study to the international performance and production of opera as it evolves in the 21st century, positioning my own creative practice as a form of resistance to an evacuation of production values based on measures and paradigms of knowledge serving “efficiency.”
Ehrlich, A., Holdhus, K., & Schei, T. B. (2024). Addressing Narrative Methodologies in Music Education Research. In T. B. Schei, K. Holdhus, & A. Ehrlich (Eds.), Methodological musings: Thinking with narrative in music education research (pp. 3–16). Springer Nature Switzerland. https://doi.org/10.1007/978-3-031-67965-0_1
In this chapter, the three editors address the book’s main theme, namely how methodologies unfold in narrative inquiry (NI). Narrative inquiry is perceived as a complex and ambiguous endeavor that could be subject to vast and broad ways of methodological diversity. The chapter displays an interest towards enhanced methodological awareness when conducting Narrative Inquiry in music education. The chapter discusses how methodologies in music education NI are made explicit and reflected over when chosen, when in use, and in (re)presentation, and the authors offer examples of narrative methodologies originating from other academic fields than music education as sources for reflection and inspiration. The authors sort methodological approaches to NI in music education into three spatial core features: Across (transdisciplinearities), between (positionings, power, structures) and beyond (futures, multimodalities, posthumanist ontology) to group and address methodological issues in music narrative inquiry.
Elmies-Vestergren, A. (2024). Digital teknologi i kunst og håndverksundervisning: – En lærerrolle i endring. Formakademisk, 17(1). https://doi.org/10.7577/formakademisk.5518
I 2017 ble det utarbeidet et rammeverk for lærerens profesjonsfaglig digitale kompetanse (PfDK) for å skape en felles forståelse av hva som ble forventet av lærere i digitale omgivelser og for å øke lærerens digitale kompetanse. I rammeverket nevnes det fire roller som læreren skal kunne variere mellom; formidler, veileder, deltaker og retningsgiver. I denne artikkelen bruker jeg a/r/tografisk metode for å se nærmere på hva disse rollene innebærer for kunst og håndverkslæreren. Bakgrunnen for undersøkelsen er en forståelse av at det oppstår utfordringer for læreren i kunst og håndverk som ikke oppstår i samme grad i andre fag. Det skyldes både dualiteten ved det digitales materialitet, fagets egenart som kreativt og skapende fag og lærerens balanse mellom å være sammen med og å stå foran elevene. Jeg ville derfor bruke de fire rollene fra rammeverket som analyseverktøy til å undersøke hva de ulike rollene betydde for et prosjekt i en første klasse, hvor digital teknologi var omdreiningspunktet. Dette gjør jeg med blikk på hva de ulike rollene satte i gang, og hvilke utfordringer de synliggjorde for kunst og håndverkslærerens rolle i digitale omgivelser.
In 2017, Norway’s first Framework for Teachers’ Professional Digital Competence (PfDK) was established. The aim was to create a shared understanding of what was expected from teachers in digital environments and to enhance their digital competence. The initial version of the framework introduced four roles that teachers are expected to adopt interchangeably: transmitter, facilitator, participant, and leader. This article presents an a/r/tographic exploration of what these roles entail for art and crafts teachers. The study is based on the premise that certain challenges emerge for teachers in art and crafts that do not arise to the same degree in other subjects. This is attributed to the subject’s unique nature as a creative, hands-on, and practical discipline, where digital technology introduces a distinct form of materiality. In the article, I employ the four roles from the initial version of the framework as analytical tools to examine how these roles influenced a project in a first-grade classroom, where digital technology was central. The analysis focuses on how the different roles prompted various dynamics and illuminated specific challenges for the role of the art and crafts teacher in digital environments.
Fryzel, B., & Marcinkowski, A. (2024). Methodology of visual experiences and dialogue on the arts. In B. Fryzel (Ed.), Organizational aesthetics: Artful visual representations of business and organizations (pp. 21–35). Routledge. https://doi.org/10.4324/9781003497103-4
The chapter starts with a review of the organizational aesthetics literature positing that aesthetic perspective facilitates understanding of feelings, representations, and visualizations accompanying the experience of work. It offers a description of how organizations and their phenomena can be perceived and analysed through aesthetic categories based on a turn towards non-discursive methods of data acquisition across the social sciences. Berelson’s content analysis framework, followed by a description of basic aesthetic ideas and art analysis, sourced from Wölfflin, is described. Research questions are formulated, and the corpus of data used described. The chapter concludes by explaining the roots of the metaphors used in the remainder of the book, especially Ritzer’s ‘cathedrals of consumption’.
Fuglestad, S. (2024). «Jeg følte at jeg faktisk ‘var’ der»: Resonans og berørthet mellom utøver og publikum i “Enkemesse i en allehelgensnatt.” Nordic Journal of Art & Research, 13(3), 1–31. https://doi.org/10.7577/ar.5461
This article is based on the meeting between the audience and me as a performer in my interactive musical story about an All Saints’ Eve mass that I helped organise at the gay nightclub in Oslo called The Black Widow in the early nineties, a time when the gay community was heavily affected by HIV/AIDS. Using an a/r/tographic approach, I explore the concepts of resonance and affectivity, and ask: How can my subjective narrative from 30 years ago create resonance and affectivity in other people today? Reflections from five different audience members, along with two video clips from the performance, serve as raw material for discussing the issue in relation to relevant theoretical perspectives. Terms such as presence, vulnerability, courage, and openness, both in myself as a performer and in relation to the audience, are discussed, along with the significance of my own story and background as a Christian and a gay person in understanding myself as an a/r/tographer. In the article, which has an essayistic form, I intimate the importance of openness, presence, and the willingness to be touched – both in myself and in the audience – in order to create these moments of resonance and affectivity between the audience and me as a performer.
Galera, J. M. S. V., & Verney, R. G. (2024). El mundo invisible: Una investigación educativa basada en las artes sobre memoria y deseo en la inmigración. Tercio Creciente, (26), 7–31. https://doi.org/10.17561/rtc.26.8683
Immigration is a significant and polemic topic in current politics from which debates and tensions arise that impact the media and society in general. Most academic works are focused on analyzing mainly the political and economic factors of these phenomena without considering what really happens to those who experience it on a personal and intimate level. In this article we present an educational project that aims to make students reflect on the most sensitive aspects of immigration based on the concepts of memory and desire. We worked with two groups of students from São Paulo (Brazil) and Granada (Spain), who identified their desire to migrate and their memories of origin from the creation of maps. To analyze the results, an educational research based on the arts was used from the prism of a/r/tography and new cartographies of these concepts were created as a visual summary that was later appropriated by the researchers, themselves immigrants, to turn them into works of art where an invisible world appears: countries where no one wants to migrate.
Garcia Lazo, V., & Appelgren, D. (2024). The art of not belonging: Decolonising intercultural visual arts education in Chile. Knowledge Cultures, 12(1), 194-217. https://doi.org/10.22381/kc121202411
This article presents the preliminary findings of research that explores how a sample of secondary school visual arts teachers conceptualise and embody interculturality across distinct public schools and Chilean regions. An increasingly culturally diverse Chile, postcolonial inequalities and Indigenous dispossession, and the tensions this creates in an educational system that privileges Western onto-epistemologies, present some critical challenges to intercultural visual arts education. These challenges open the opportunity to re-imagine the theories and methodologies that inform teachers and educational policies. While teachers are aware that interculturality acquires special relevance in art education since diversities can be explored and expressed, the field has historically struggled to belong in schools. This shows the need for decolonising the onto-epistemology that in education underpins issues of belonging through hierarchical categorisation and erasure of interdependence. To trouble such orientation, the research adopted the Mapuche onto-episteme of azmapu – beautiful and good earth – and posthuman theories of ‘entanglement.’ Both illuminate issues of belonging through relational and sensible ways of responding to difference that emphasise interdependence. Consistently, a/r/tography, an arts-based research methodology, enabled us to theorise about the findings through a relational approach and collage-making as embodied thinking.
Gerstenblatt, P., Luken, L., & Chalmers, E. (2024). Life on the island: Collage portraiture and storytelling as community building. Journal of Community Engagement and Scholarship, 17(1). https://doi.org/10.54656/jces.v17i1.577
This qualitative study explored the experiences of island residents who participated in a collage portraiture workshop. Workshop participants used collage portraiture, an arts-based research method, to tell their stories of island life and engage with fellow community members. Nine island residents participated in the workshop and were interviewed about the experience using a semi-structured interview guide. Interviews were transcribed verbatim, and data analysis revealed three overarching themes: (a) the process of collage portraiture, (b) collage portraiture as storytelling, and (c) future use of collage portraiture. This study contributes to a small body of literature investigating the use of collage portraiture as a method of storytelling and as an arts-based research method for use in community building.
Gilbert, J. (2024). Arts-based research. In A. Rowson Love & D. Randolph (Eds.), An introductory guide to qualitative research in art museums (pp. 143–158). Routledge.
Arts-based research is a methodology in which the arts are employed at any or all stages of the research practice. This chapter describes arts-based research by first examining the history and articulators and offering examples of this methodology and its numerous forms in art education and museums. The chapter is organized by art form. The featured researchers for this chapter are the Interpretive Wonderings Team: Campbell Drake, Jock Gilbert, Sven Mezhoud, Uncle Barry Pearce, and Sophia Pearce. These researchers participated in a study centered on a three-day retreat in which Indigenous and non-Indigenous artists mapped an area recently reclaimed by the Culpra Milli Aboriginal Corporation in Australia. The artist segue for this chapter features Tomas van Houtryve’s work.
Häikiö, T. K., & Hellman, A. (2024). Becoming a visual arts teacher with a/r/tography: Dealing with desires, doubts and fears in examinations in art teacher education. Nordic Journal of Art & Research, 13(3), 1–27. https://doi.org/10.7577/ar.5456
Examination practice in art teacher education in Sweden is a part of the development of professional practice in compulsory, secondary and upper secondary education. Visual arts as a school subject entails a hybridity of artistic and didactic perspectives. In art teacher education, a double didactic perspective involves the learning of the student teacher and their future teaching of students in the visual arts. This article focuses on an examination of student teachers in the visual arts. An entry point is the methodology of a/r/tography, which entails exploring different subject positionings as artist, researcher and teacher in student teachers’ examination projects. Three examination projects were presented exemplifying how the use of art-based methods supports an understanding of subject didactics in the process of becoming a visual arts teacher. The examinations consisted of written academic texts and art-based explorative investigations in different visual media. The study also elaborated on how student teachers’ artistic production supports an understanding of the subject’s theoretical and practice-based content. The results indicated how a/r/tography can be used for reflected learning in becoming-teacher through student teachers’ efforts to encompass their future professional roles. The results also showed the challenges of student teachers in confronting their desires, doubts and fears in their learning processes during art teacher education.
Hawley, R. (2025). 1000 Days Project: An a/r/tographic inquiry of hospital music-making. In P. Gouzouasis & C. Wiley (Eds.), The Routledge companion to music, autoethnography, and reflexivity (pp. 323–342). Routledge. https://doi.org/10.4324/9780429330049-19
My chapter explores using artistic collaboration to understand and articulate musicians’ experiences of live musical interaction during a hospital music residency in a UK pediatric hospital. In the Songbirds project, I worked as a hospital musician alongside my long-standing music partner, guitarist and composer Mark Fisher, developing musical interactions with children with complex medical conditions at their hospital bedsides. During regular ward visits we engaged in impromptu and improvised musical interactions with these children, their families and staff. We used our music to respond to each child’s specific communication, whether verbal, nonverbal, or gestural, reading signs and signals of their often subtle and nuanced responses to answer in music. Our musical sound world traveled, taking an acoustic journey through the ward, engaging with the wider ward community, and inviting them to connect with us through listening, watching, and feeling the music we played. Wanting to find a creative methodology for evaluating these experiences, we commissioned a spoken word artist, Keisha Thompson, to observe and respond. Keisha made several visits to observe us working on the ward. Using hers and our own fieldnotes, observations from visits, video evidence, and interviews with family members and staff, she created a series of poems which drew together her reflections from experiencing the project in action and talking to families and staff. Her poems gave a collective voice to the many members of the ward community who, often intimately, shared with us in music-making experiences. We then responded to her poems with our music, and in a final stage we met together to perform two poems at a conference linked to the project in 2017. This chapter explores the journey of this process, and shares later developments as the project grew from a creative evaluation into a project of its own identity.
Hannigan, S. (2024). Turning community stories into community art1. NaN, (1), 101–116. https://doi.org/10.1386/eta_00154_1
A broad range of community art projects and programmes have been documented around the world since I first reported on this project in 2012. However, it still remains that lack of time and/or funding means that most art teachers are unable to engage in community arts or generate resources and opportunities to teach community arts. This means that unless community art projects directly engage schools and teachers in their projects and time is put aside for students and teachers to go on excursions, visit sites and engage with these communities, there are few opportunities for students to engage in community arts-based learning. This article reports on an innovative community art project that engaged narrative, and sculptural form, as a way of learning about community, place and identity. The project is explained from the perspective of an art educator, researcher and artist who was employed in the project both as community artist and as facilitator. This ‘insider’s perspective’ aims to afford some context to relevant theories through which such projects can be understood as potentially beneficial to art education – particularly in the way people have used narrative to communicate issues of place and the ways in which artists have translated community narratives into sculptural form. The author’s insider perspective offers insight into this project to share how a community art project could be designed and facilitated for students to engage in their local region and therefore a way forward for teachers and students to engage in something similar, to learn about how community stories can be translated into contemporary art, and the important role of place and identity in this work.
Horwat, J., Yu, G. (Gigi), & Grube, V. J. (2024). Good mourning: Existing with loss while living in the anxious now. The Journal of Social Theory in Art Education (Online), 43, 87–115.
Absence and loss are part of what it means to be alive. While common, grief is a difficult and complex aspect of the human psyche, often producing affects that mask themselves in different forms such as anxiety, anger, despair, and isolation. Able to bring into form the unnamable affects of our psychic lives (Irwin & Springgay, 2008), arts-based research methods can be viable means to transform the grief into something generative. In this paper, each author describes a project that uses a different arts-based research approach to explore a personal experience with grief. Drawing from wordless narrative research (Horwat, 2018) diffractive ethnography (Gullion, 2018) and walking currere (Irwin, 2006), these projects seek to make sense of ubiquitous expressions of grief, such as complicated grief, political grief, and ecological grief, to show how they not only can generate new understandings but make empathic connections with others suffering from similar allusive psychic afflictions. The paper highlights the implicit generosity that artsbased research engenders in its ability to make tangible the distressing and ambiguous psychic conditions we experience.
Huang, W. (2024). Photographic practice as a mode of non-representational self-world engagement. International Journal of Education through Art, 20(2), 183–192. (178027350). https://doi.org/10.1386/eta_00160_7
This visual essay presents my journey of coming to experience and conceive photography through the lens of non-representational theory. In the light of non-representational notions of landscape and embodiment, photography is more than an aesthetic and representative medium of one’s outer and inner seeing of the world. Rather, photographic practice can be ‘a perceiving-with’, that with which the new camera-I (eye) sees, and the expressive photograph becomes embodiment as body a-where-ness. This journey of photographic artmaking and conceptual speculation has taught me to live photography as a set of creative tensions between self, camera and the world instead of merely using photography to express and represent one’s life.
Illeris, H., Fossnes, A.-M., & Anundsen, T. W. (2024). Landtimescaping with Rossedalen: A/r/tographic fieldwork with a landscape in Southern Norway. Nordic Journal of Art & Research, 13(3), 1–28. https://doi.org/10.7577/ar.6070
This article develops and explores ‘landtimescaping’ as an a/r/tographic practice that can help us as humans to expand and (re-)create our relationships to the Land. Through a/r/tographic fieldwork in Rossedalen, a valley situated in Southern Norway close to the city of Arendal, the authors experiment over time with different ways of being-with the Land. The aim is to contribute to art, research and education as worlding practices that facilitate diverse ways of sensing, relating and acting with other-than-human forms of being. By relating to Karen Barad’s theories of spacetimemattering, the verb ‘landtimescaping’ is coined to generate new knowledge through specific embodied practices, such as walks with locals and repeated visits to a certain spot. More specifically, three ‘landtimescapings’ are brought to life by intertwining different textual-visual approaches: Landtimescaping #1 –The neglected forest. Circles and cycles, Landtimescaping #2 – Deforestation. Life interrupted. Life to (be)come, and Landtimescaping #3 – The Quarry. Swallowing an event. In the final part of the article, the potentialities of landtimescaping for the practices of art, research, and education are discussed in order to open for a (re-)orientation of these separate forms of knowing towards entangled, fluid and open ways of existing.
Irwin, R. L., Lasczik, A., Sinner, A., & Triggs, V. (2024). A/r/tography: Essential readings and conversations. Intellect.
The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.
Januário, S., & Silva, S. L. da. (2024). Cria(r)tividade Transdisciplinar. Relato De Uma Experiência Pedagógica Entre a Ilustração E a Sociologia. Todas as Artes, 7(2). https://www.proquest.com/docview/3149750745/abstract/8650058C72A84CFAPQ/1
A propósito do entendimento sobre a pertinência da transversalidade na construção de conhecimento e, sobretudo, da importância da reflexividade como dimensão necessária para a construção conscientizante do processo de aprendizagem, procurou-se retomar uma ação pedagógica, anteriormente experimentada, assente na articulação de duas unidades curriculares da licenciatura em Artes Visuais e Tecnologias Artísticas da Escola Superior de Educação do Politécnico do Porto (Araújo, Lopes e Carvalho, 2021). O desafio lançado pelas docentes das UCs de Ilustração e Sociologia da Arte consistiu na representação criativa (ilustração) sob o mote alusivo à celebração dos “50 anos menos um” da revolução democrática de 25 de Abril de 1974. Tendo como inspiração os modelos de pesquisa arts-based research (Greenwood, 2019; Finley, 2005) e A/r/t/ography (Irwin, 2004; Dias, 2013), procurou-se incentivar processos de pesquisa, de reinterpretação e de produção de significado (Belliveau, 2005), por forma a potenciar-se a inter-relação entre o fazer criativo e a construção de conhecimento (Dias, 2013). Se o ponto de partida consistiu em potenciar-se a premissa sociológica basilar do uso simbólico da arte (Zolberg, 1990), o processo e a respetiva ressignificação – assente na análise qualitativa das criações criativas realizadas: ilustrações/cartazes (Sontag, 1999) – constituem os pontos de chegada que motivam esta apresentação.
Karlsson Häikiö, T., & Hellman, A. (2024). Becoming a visual arts teacher with a/r/tography: Dealing with desires, doubts and fears in examinations in art teacher education. Nordic Journal of Art & Research, 13(3), 1–27. https://doi.org/10.7577/ar.5456
Examination practice in art teacher education in Sweden is a part of the development of professional practice in compulsory, secondary and upper secondary education. Visual arts as a school subject entails a hybridity of artistic and didactic perspectives. In art teacher education, a double didactic perspective involves the learning of the student teacher and their future teaching of students in the visual arts. This article focuses on an examination of student teachers in the visual arts. An entry point is the methodology of a/r/tography, which entails exploring different subject positionings as artist, researcher and teacher in student teachers’ examination projects. Three examination projects were presented exemplifying how the use of art-based methods supports an understanding of subject didactics in the process of becoming a visual arts teacher. The examinations consisted of written academic texts and art-based explorative investigations in different visual media. The study also elaborated on how student teachers’ artistic production supports an understanding of the subject’s theoretical and practice-based content. The results indicated how a/r/tography can be used for reflected learning in becoming-teacher through student teachers’ efforts to encompass their future professional roles. The results also showed the challenges of student teachers in confronting their desires, doubts and fears in their learning processes during art teacher education.
Keith, E., Clarke, C., & Tucker, A. (2024). Illuminating meshworks of pre-service teachers’ curated co-living learning spaces. The Canadian Journal of Action Research, 24(3), 7–28.
Learning spaces in higher education are fraught with colonial barriers such as teacher-centered, front facing, stark, feelingless, and unwelcoming classrooms that diminish students’ feelings of well-being. For pre-service teachers, these are also the types of classrooms that they often inherit as they foray into the profession. Three Bachelor of Education (B.Ed) assistant professors investigate how pre-service teachers’ well-being shifted when collectively (re)imagining and (re)envisioning a colonial university classroom space in a faculty building that is over 100 years old. They then share the findings of their a/r/tography, action research inquiry that captured the co-living, metabolic experiences and relational meshworks of both participants (n=11) and researchers documented through reflexive journaling, artistic artifacts, interviews (n=3), and contemplation. The researchers embody decolonizing praxes through intentional interpretation and writing scholarship as they weave their storied inquiry. They conclude with transformative urgencies for how B.Ed programs can recalibrate their physical learning spaces to better support and sustain teachers’ well-being in their future profession.
Kennedy, A. L. (2024). Fra feltnotater til etnografisk tegneserie: Metodologiske refleksjoner. Formakademisk, 17(2). https://doi.org/10.7577/formakademisk.5666
Denne artikkelen handler om hvordan man kan overkomme metodiske og metodologiske utfordringer gjennom å lage en tegneserie av etnografiske feltnotater som er samlet ved å gjøre antropologisk feltarbeid. Utgangspunktet for artikkelen er at noen ganger kommer feltnotater og ord til kort, når man skal reflektere og analysere datamaterialet som er samlet inn ved å gjøre disse observasjonene om til tekst. Artikkelen søker med andre ord å vise hvordan både det visuelle og det tekstlige som skapes, når man lager en tegneserie, bringer meg seg viktige perspektiver som man kan bruke i selve fortolkningen og analysen av ens datamateriale og virke som et supplement til feltdagboken. Det er tidligere skrevet artikler om å bruke tegninger i kvalitativ forskning, av forskere som kan tegne, det denne artikkelen derimot er et forsøk på; er å vise at selv vi, som ikke kan tegne, kan med stor nytte bytte ut det skriftlige med det visuelle å få ulike fruktbare resultater.
This article is about how to overcome challenges that relate to both method and the methodological by creating a comic strip. The comic strip is based on ethnographic field notes collected during anthropological fieldwork. The point of departure for this article is that sometimes fieldnotes are not enough, when you are in a process of reflecting and analysing your observation that have been converted to text. This article attempts to show how the visual and textual take new forms when these are in the shape of a comic, and how these can be used in new ways when interpreting and analysing your data and work as a supplement to fieldnotes. There have already been written several articles on this topic, by researchers who master the art of drawing and painting, however this article shows that these visual and creative processes can also be of use to us researchers who cannot draw.
Korolainen, K. (2024). Sketching across borders: Borderscapes through a/r/tography as living inquiry. Nordic Journal of Art & Research, 13(3), 1–23. https://doi.org/10.7577/ar.5377
This article explores borderscapes as multilayered or displaced geopolitical and cultural borders through a/r/tography as living inquiry. Art making (via cartoons), arts-related research, a/r/tography, and border studies constitute a broad interdisciplinary framework for the study. The starting point is that a/r/tography as living inquiry provides an approach where interdisciplinarity can be seen more in terms of a “rupture where in absence, new courses of action unfold”, than as “a patchwork of different disciplines” (Springgay et al., 2005, p. 898). Hence, the main research question asked is: What kinds of new actions and understandings develop with ruptures involving visual arts-related research and the borderscape notion featured in this project? The focus is on the cartoons that address borders from different perspectives. The a/r/tographic viewpoints of metaphor and metonymy, openings, and embodiment are used to analyze these cartoons, their making processes, and ruptures that are linked to them. Moreover, I use general vantage points such as playfulness and temporality (memory) in my analysis. What was learned from a/r/tography in this study is how an a/r/tographic viewpoint could help to specify the symbolic ruptures within the visual and theoretical understandings of borders. In addition, the idea of playful openings was developed here to overcome not only the visual ruptures in the cartoons, but also those ruptures that are caused by the limitations of memory. Consequently, four ruptures – symbolic, visual, internal, and temporal – were approached as new actions and understandings that help to reconsider the border theory. For instance, it became clearer how the idea of borderscape touches on shifts of perspectives (identities) besides border spaces and other border processes. Thus, the observations in this paper can be used in the future for developing the study of the diversity of the border studies conceptualizations. Furthermore, the article provides insights through which to rethink connections between arts, scholarly disciplines, learning, and living inquiry; inward and outwards, as well as back and forth in time.
Kvammen, A. C. R., & Hagen, J. K. (2024). Putting it together: Artographic awareness through collaborative teaching in a musical theatre educational program. Nordic Journal of Art & Research, 13(3), 1–27. https://doi.org/10.7577/ar.5468
This article demonstrates how collaborative teaching in the field of musical theatre has served as a platform for uncovering the research methodology of artography. This methodology explores the intricate entanglement of the roles of artist, researcher, and teacher. The reorganization of a new curriculum and collaborative teaching among a group of teachers at the bachelor program in musical theatre at Kristiania University College forms the basis of our reflections. We, the two authors, were involved in this process. We connect these experiences to theories of artography and collaborative teaching. We argue that our multidisciplinary artographic awareness relied on certain conditions of growth within the teacher group. These growth conditions include: 1) a culture of sharing pedagogy among colleagues, 2) working beyond an individual’s level of comfort through co-teaching and 3) reevaluating teaching habits.
LeBlanc, N., Davidson, S. F., Ryu, J., & Irwin, R. L. (2024). Becoming through a/r/tography, autobiography and stories in motion. International Journal of Education through Art, 20(1), 69–89. https://doi.org/10.1386/eta_00152_1
Since its original publication, this article has received tremendous interest on the Intellect website as well as through other platforms. Attending to a/r/tography as practice-based research through stories in motion, the authors explore becoming-artist, becoming-researcher and becoming-teacher as a métissage approach of weaving layered stories alongside and through one another. Together, as co-labourers, the authors enact coming to understand their own as well as their collective learning through processes of practising, theorizing and materializing their work. Permeating these practices is a commitment to emergence as evidenced through a/r/tographic states of intensity, events and movement. The result is an exemplar of a/r/tography with an appeal to many a/r/tographers desiring to experience becoming-a/r/tography and who wish to deeply impact their own art education practices.
Lee, N. Y. S., Mosavarzadeh, M., Ursino, J. M., & Irwin, R. L. (Eds.). (2024). Material and digital a/r/tographic explorations: Walking matters (Vol. 9). Springer Nature. https://doi.org/10.1007/978-981-99-5374-5
This book considers the generative tension between the materiality and virtuality of walking methodologies in a/r/tography and arts-based educational research. It explores the materiality of practice—manifestations, manipulations, residues, and traces of both real and imagined experiences and events. Authors present artistic representations, renderings, artifacts, and documentations that allow for various forms of return and re-visitation of places/spaces and temporal moments. The book also investigates the digital and virtual, including video, images, media work, and emergent technologies that allow one to literally, metaphorically, affectively, and conceptually go somewhere that might be previously impossible to reach. Authors consider curricular and pedagogical implications of digital/virtual walking in relation to desire, agency, autonomy, freedom, and other issues around ethics. The book brings together entanglements of the corporeal and incorporeal, addressing the questions: How does the (im)materiality of bodies/characters-in-motion in a/r/tographic practices shape understandings of place, space, and the self-in-relation? How do issues and particularities come to matter through one’s entanglements with(in) the (in)corporeal?
Liao, X. (2024). Becoming and interaction in collaborative inquiry through a/r/tography. The Journal for Japanese Association of Art Education, 45, 287–303. https://doi.org/10.24455/aaej.45.0_287
This study aims to explore the becoming of collaborative inquiry through a/r/tography, a practice-based research methodology of reflection by the artist/researcher/teacher through art and text, and the interactions among a/r/tographers who are involved in it. Regarding the process of the becoming of inquiry, the case of two a/r/tographers who conducted their inquiry through movie making and photography with respective inquiry themes are included. By observing and analyzing the process of their inquiries, three steps were identified, namely, collaborating and expanding, elaborating and deepening, and presenting and sharing of inquiry. Regarding the a/r/tographersʼ interaction, it was concluded that as their inquiries intertwined in a multilayered manner, a/r/tographersʼ inquiries and expressions expanded and developed in a rhizomatic way, through thinking, sharing, discussing, chatting, and interacting in a multifaceted manner based on their diverse practical experiences in art making, and practice and research in art education.
López, P. V. S. (2024). El concepto de competencia en conciencia y expresiones culturales en la formación inicial de docentes: Evaluación de un programa pedagógico basado en los principios de las metodologías activas. Revista Complutense de Educación, 35(1). https://doi.org/10.5209/rced.82979
La renovación de la pedagogía de las artes en la formación inicial de docentes no debe permanecer ajena a la amplitud de conceptos que articulan la competencia en conciencia y expresiones culturales (CCEC), una de las competencias clave que el marco europeo recomienda incluir en el sistema educativo. MÉTODO. A través de la asignación de valores numéricos a diferentes datos cualitativos para su transformación en resultados cuantitativos, se analiza cuál es el concepto de CCEC adquirido por un grupo de docentes en formación. Con la referencia de este estudio previo, y atendiendo a un planteamiento de investigación a/r/tográfico, se evalúan los efectos del Aprendizaje Basado en Proyectos de naturaleza artística (ABP-A) en la formación recibida por futuros y futuras profesionales de la educación. RESULTADOS Y DISCUSIÓN. Los datos recogidos evidenciaron la necesidad de abordar un proceso de profundización en la conceptualización de la CCEC con los docentes en formación y de analizar su relación con el área de Educación Artística. En otro orden de cosas, el modelo de ABP-A como estrategia formativa permitió reflexionar sobre lo que supone ser competente desde el punto de vista cultural y artístico en el contexto de un área de conocimiento que, además de centrarse en la expresión, no se olvida del componente humanístico de la obra de arte. CONCLUSIÓN. La esencia de una Educación Artística renovada y abanderada de la CCEC debe ocupar un lugar prioritario en la práctica de aula. Ante esta realidad, abordar la formación de docentes desde los principios de las metodologías activas permite situar nuestra disciplina en un marco pedagógico que, alejado de la exclusiva transformación de materiales a través de la manipulación, afianza la presencia de las artes y su componente cultural en educación.
López Fdez. Cao, M., & Serrano Navarro, A. (2024). Artistic autoethnography in the identity construction of professionals in social education, secondary education and art therapy. Revista Interuniversitaria de Formación del Profesorado, 99(38.1). https://doi.org/10.47553/rifop.v99i38.1.104046
Based on an educational experience within the framework of secondary school teacher training, social education, and art therapy—specifically, personal artistic autoethnography in the form of an artist’s book and other creative languages—this article analyzes the potential of arts-based methodologies as an autoethnographic approach in teacher training and related care professions. From an arts-based research perspective, using a/r/tography and an ethnographic approach, the question “Why did I choose this profession?” acts as the catalyst for a creative-narrative-research process that invites reflection on two other questions: Who are we? and What has brought us here? The article examines the importance of autoethnographic construction in initial teacher training as an element that promotes self-reflection on identity among future education and care professionals, subsequently linking it to arts-based methodologies that unlock symbolic and nonverbal elements essential to education. After several academic years applying this methodology in training, the analyzed sample consists of alumni in two phases: one after the pandemic, in 2020, of incorporation into the classrooms in semi-presentiality, and another in this 23-24 course, revealing itself as a methodology that promotes thinking about the personal from a social and cultural context; metaphorical thinking and the relationship with others as elements of reflection on professional identity; as well as reflection on the limits and possibilities of the framework and roles within the framework of work and intervention.
Love, A. R., & Randolph, D. (2024). Artist segue 9: Tomas van Houtryve. In A. Rowson Love & D. Randolph (Eds.), An introductory guide to qualitative research in art museums (pp. 139–142). Routledge.
Tomas van Houtryve’s artistic practice emulates arts-based research. His photographic process and images serve as data collection, representation, and interpretation in social and political inquiry in the same way that arts-based research utilizes art forms in all stages of research. Through photography, van Houtryve develops counter stories to dominant narratives. For example, in the project “Lines and Lineage”, he questioned the role that photographs, both recorded in and missing from the historical archive, have played in shaping the dominant narrative of the American West. He considered whether “America’s perception of its Mexican heritage would be more accurate if it had been photographically documented as well as other periods” (van Houtryve, 2019, p. 115). By re-creating the missing photographic record of the Mexican era, the artist imagined how this region might have appeared between 1821, when Mexico won independence from Spain, and 1848, the year that the United States annexed land from Mexico, significantly shifting the border south between the two countries. In other words, van Houtryve’s artistic practice allows him to conjure new meanings through art just as arts-based research allows the researcher “to tap into what would otherwise be inaccessible” (Leavy, 2020).
Magnusson, L. O., Ilje-Lien, J., & Kaihovirta, H. M. (2024). Polyfona röster för framtiden: : A/r/tografens sammantrasslade tillblivelser. Nordic Journal of Art & Research, 13(3), 1–22. https://doi.org/10.7577/ar.5617
The point of departure for this study is an exploration of how a/r/tography can be used as a method to contribute to new ways of thought and a changed understanding of the researcher, the artist and the teacher in higher education. The data is derived from digital meetings, dialogues, and exchanges of texts and works of art. The data produced is polyphonic, taking the form of assemblages (cf. Deleuze & Guattari, 1987). Data is analyzed and discussed by visualization of intra-actions (Barad, 2007), and the analyzing process is driven by affect (Kristeva, 1980, 1984), resulting in the discovery of the concept of intra-artistic-articulations, which challenges hierarchies and encourages the wild within the a/r/tographer.
Mao, F., Gong, J., & Wu, B. (2024). Public opinion through art: Exploring Chinese university students’ perspectives on COVID-19 mass nucleic acid testing. Qualitative Health Research, 10497323241233438. https://doi.org/10.1177/10497323241233438
In the context of the global COVID-19 pandemic, this study focuses on Chinese university students, employing graphic elicitation as a qualitative research method to analyze their hand-drawn paintings and related descriptions. Augmented by A/r/tography and metacognitive methods, the research aims to unveil the participants’ collective memory, as well as the perspectives and responses of these students to policies related to the pandemic. By specifically examining this particular demographic, the study incorporates Fairclough’s ethical theory, applying deontological ethics, consequentialist ethics, and virtue ethics to establish a comprehensive framework for evaluating adjustments to pandemic response policies. This research not only enhances our understanding of how these university students perceive and adapt to COVID-19 policies but also provides valuable insights for decision-makers. The particular methodology, combining graphic elicitation and metacognitive research, contributes to policy assessment and ethical analysis, offering a nuanced perspective on the interplay between individual perceptions, policy responses, and ethical considerations amid the complexities of a public health crisis.
Marqués Ibáñez, A. M. (2024). Situationist Drift and Its Portrayal in Contemporary Artistic Cartography as an Aesthetic Action and Educational Experience Associated with the Act of Walking. Australian Art Education, 45(1), 4–18. (184457966).
This article discusses different components of artistic cartography as a means of representing displacement and situationist drift as a creative act. It starts by offering a historical overview of this artistic practice, highlighting the flâneur, a figure that is still very much present in contemporary art. A/r/tography, walkscapes and soundscapes are proposed as methodologies. Finally, the article describes three experiences based on territorial artistic cartography carried out by postgraduate students who designed the images presented herein. This practical approach is intended as a training tool to help future teachers acquire an educational resource to creatively express ideas about the urban fabric.
McGarry, K. (2024). Elliot Eisner: Proponent of surprise (1933–2014). In B. A. Geier (Ed.), The Palgrave handbook of educational thinkers (pp. 1305–1321). Palgrave Macmillan. https://doi.org/10.1007/978-3-031-25134-4_213
Elliot Eisner was a painter and an educator who thought across and through disciplines of art and education. As an educational thinker, Eisner learned from theorists who would ultimately guide his intellect and foster his appreciation for how the arts impacted learning. His own connoisseurship, sense of critique, and belief in experiential learning produced expressive outcomes in the students he nurtured, who would later carry on his legacy. The attention he paid to curriculum led him toward crafting a program of study that embraced artful practices for teachers unskilled in the arts. The intent, he wrote, was to help teachers inform their students of how the arts might enrich and inform lived experiences. In his thinking, the arts possessed a unique interpretability revealed in the process of artmaking. His contention held that artistic methods enveloped the potential to awaken pluralistic approaches to teaching and learning, stretching the boundaries of explorative practice, and eventually leading to knowing and understanding. Eisner’s agility with ideation and with words made him a thinker who imagined concepts like arts-based research that challenged normative qualitative practices. The contributions he endowed education through and with the arts embraced flexible, creative pathways for discovery; he was ever the proponent of surprise.
Mickel, L. (2024). Performance practice as research, learning and teaching. Teaching in Higher Education, 29(2), 489–501. https://doi.org/10.1080/13562517.2021.2000385
This article considers how the performing arts integrate with research, learning and teaching. In doing so, it addresses the relation between research and performance practice, and the connections between research/practice with learning and teaching. Reference to A/R/Tography is made as a constructivist praxis facilitating integration of these pedagogic and creative activities. The discussion extends from performance education and how it is assessed in terms of teaching and research quality to consideration of how performance practice may be applied in diverse educational, social and professional contexts. Performance practice is shown to integrate learning and teaching in a holistic process. It also supports reflexivity as a basis for learning and cognitive development. Reference is made to specific examples of performance pedagogy and applied performance practice to demonstrate how this creative approach supports learning in educational and social contexts.
Moore, D. (2024). Walking our Landscape as Interculturality: A visual essay in resonances. In The Routledge Handbook of Critical Interculturality in Communication and Education. Routledge.
The chapter embarks readers on a reflective and deeply personal journey into the intricate tapestry of languages and identities that shape the author’s life and her role as an educator. This visual essay is an attempt to interculturally engage into a performance of critical interculturality. The blending of languages, poetic narratives, visuals, and snapshots of the linguistic landscape evokes a sense of in-quietude and (dis)orientation throughout the text. As a form of embodied inquiry, it aims to initiate conversations that transcend boundaries and unveil the hidden narratives of plurilingualism, language possession and dispossession, identities, and place; and to explore alternative ways of doing research, writing research, and being a researcher.
Morimoto, K. (2024). Walking an a/r/tographic garden: Propositions with art education, curriculum theory, and love [Doctoral dissertation, The University of British Columbia]. https://doi.org/10.14288/1.0444798
Beginning with Ted T. Aoki’s (1979/2005k) invitation to walk with him to the Nitobe Memorial Garden found on The University of British Columbia Vancouver Campus (p. 345), this study embarks on a process of becoming with artistic inquiry in education as enacted love. The work centers on the creative mapping of twelve chapters drawing from twelve significant features of interest in the memorial garden with which to sojourn. From the entry gate, the sections move across the Nitobe Lantern, the split path and waterfall, the pond and the plains, the seven-storey pagoda, family crest lantern, the way of teenage rebellion, the seventy-seven-log bridge, eight bridge, eleven plank bridge, pavilion, tea house, and island. Attending to each place creates moments to linger with Aoki’s curriculum theory and lived experience alongside Japanese and Canadian knowledges with which one might become in artistic and pedagogical relation. To this end, the study works with the methodology of a/r/tography (Irwin, 2003; LeBlanc & Irwin, 2019) that emphasizes artistic practice as a form of research alongside propositional theorizing based on Alfred North Whitehead’s (1978) speculative philosophy to enact a journey toward one’s becoming as an individual educator situated within a complex fabric of relations with oneself and others in the world. Each of the twelve chapters renders the features of the garden with which they are associated as a proposition that artistically weaves curriculum theory, philosophy, aesthetics, art, poetry, history, and culture that bridge the East and the West. Working propositionally, there are no direct questions or answers provided by the work. Instead, the resulting work offers itself as a curriculum of artful study with which one might linger—with Aoki, with their teachers and students, and with the world in its beauty and its messiness—in the hope that through it all there might be a glimpse of love itself.
Mosavarzadeh, M. (2024). Making–place a/r/tographically: Invitations to framing and threading and bridging [Doctoral dissertation, The University of British Columbia]. https://doi.org/10.14288/1.0445535
This arts-based educational research unfolds as an exploration into the practice of Making–Place—perceived as both a) making of place and b) place for making. Collaborating with three visual artist-researcher-teachers of Iranian backgrounds affiliated with The University of British Columbia, this study hopes to animate the methodology of a/r/tography, integrating walking AND thinking AND writing AND imagemaking as a combined a/r/tographic exploration. The research utilizes various artistic methods, including three Co-walking Studies (CWS), one-on-one Walking Interviews (WI) with each participant, unstructured debriefing sessions, and co-curatorial moments. Drawing inspiration from phenomenological theorists such as Edward Casey, Jeff Malpas, and David Seamon, and engaging with philosophical concepts like weak theory proposed by Eve Sedgwick and Kathleen Stewart, as well as aesthetic sensibilities from scholars like Maxine Greene and Arnold Berleant. While dwelling in Ted T. Aoki’s pedagogical bridge, the dissertation moves between practice and theory. Opting for an artistic living inquiry without predetermined research questions, this study values the potential of invitational propositions as a form of imaginative pedagogy, embodying a collaborative and relational engagement, initiating scholarship from a place of care, curiosity, and openness. The dissertation unfolds in a manner that amplifies the rhythm of the three Co-walking Studies and Walking Interviews, creating conditions for the process of Making–Place to resonate through the juxtaposition of images, text, and columns. The study introduces three new facets of Making–Place: framing fragments, threading trust, and bridging betwixt. These facets offer fresh insights into Making–Place, providing conditions for individuals to create their place in the world.
Nodelman, D. J. (2024). Coding visual-based data: Uncovering how children make meaning through collage. In J. DeHart & P. Hash (Eds.), Arts-based research across textual media in education (1st Vol., pp. 73–85), Routledge.
My dissertation study, Creating Space for Possibility: Transformative Practice in an Elementary Visual Arts Studio, examined children’s experiences and process of meaning-making both viewing and creating art. I positioned myself as an a/r/tographer using a culturally responsive qualitative arts-based research methodology. This chapter discusses the coding of the visual data, specifically the collages constructed by the children. Coding is the process by which meaning is ascribed to data. The collage work was subjected to multiple methods of coding to include holistic approaches as well as specific models and frameworks for visual analysis. The written and oral data, in combination with the children’s collage work, proved critical to uncovering how children make meaning. Analysis and interpretation supported the transformative aspect of authentic art experiences that enabled students to acquire knowledge in deeper, broader, more personally relevant ways. A major finding to emerge from this study was that children create a personal meaning of their collage work through the use of narrative storytelling.
Odabaşı, S. (2024). Fashion, upcycling, and memory: A practice-based approach. Routledge. https://doi.org/10.4324/9781003362326
Fashion, Upcycling, and Memory questions practices and explores its profound connection to memory and sustainability. Through a practice-based researcher lens, the research examines the intricate interplay between upcycling and memory, unveiling assemblages of concepts, objects, and values that inspire action. This book takes readers on a journey through the multidimensional relationship between individuals and clothing. It delves into the disposal of garments and the transformative aspirations embedded within the fashion industry. Employing the unique research methodology known as “A/r/t/ography,” which merges artistic practice, rigorous research, and educational development, this book unearths the dynamic interplay between upcycling and memory.
The author unravels the intricate web of connections within upcycling through diverse practices, methods, and insightful interviews. By critically questioning established norms and scrutinizing the actions of fashion designers, the book makes significant contributions to existing literature. Additionally, it offers practical recommendations for sustainable fashion education, making it an indispensable resource for individuals involved in the textile and fashion field. Enhanced with visual aids such as images and illustrations, this book ensures an engaging reading experience that immerses readers in the research-based discourse.
Ørbæk, T. (2024). Learning through a separation process: An embodied a/r/tographic inquiry. Nordic Journal of Art & Research, 13(3), 1–23. https://doi.org/10.7577/ar.5329
In this article, I present an embodied a/r/tographical inquiry of my bodily and emotional responses experienced while going through a separation process, and a description of what I learned as part of this process that has implications for how I intend to teach and develop student teachers’ relational competence. By invoking the context of emergence, currere, the in-between and living inquiry, and in dialogue with the concepts of embodied affectivity and embodied interaffectivity, I observe the unfolding of themes such as activation of bodily resonance, the sharing of embodied experiences and embodied meaning-making, coming together to reveal an insight into relational competence as an embodied phenomenon. I have also revealed an awareness of my bodily inquiry and the merging of moving and writing. The implications of this study for teacher education may well include encouraging student teachers to consider their own relational competence by nurturing and enriching their own bodily awareness of a capacity to engage in meaningful and compassionate ways both with themselves and their pupils, not least when faced with unexpected and provocative situations in their practicum. Applying embodied a/r/tography as a method for developing student teachers’ relational competence may offer opportunities for including student teachers’ wonderings, feelings, reflections and meta-reflections as a means of knowing on their path to becoming teachers.
Pereira, V. de S., Nunes, L. do A., & De Lemos, M. P. F. (2024). A/r/tography in between place: A look at the connections of living heritage. OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA, 22(2), e3111. https://doi.org/10.55905/oelv22n2-028
This article presents a look at the connections that occur between heritage and community as a living, transitory, powerful place that can be explored as a collective asset based on the concept of relational art that elevates relationships to the condition of art. From the perspective of systemic and complex thoughts, we propose a museology that patrimonializes the between place of community relations understood as a living and mixed hypertext, a book made up of meanings attributed to existences that highlight reality and the role of human beings in it. To qualitatively analyze the perceptions and specificities of the crossings between people’s reality and their collective heritage, it is designated as a participatory and co-creative research methodology, with interventions and educational research based on art – a/r/tography, artistic practice and lively pedagogical, capable of perceiving, analyzing and producing knowledge and sharing it through collaborative poetic practices.
Peterken, C. (2024). Play, Health, and Well-Being in Early Childhood Teacher Education. In M. K. Felton & D. H. Cortez-Castron (Eds.), Re-exploring play and playfulness in early childhood teacher education (pp. 78-86). Routledge.
This chapter describes the design of a course called Health, Physical Education, and Play that focuses on play, health, and well-being. Adult learning strategies that emphasized play and playfulness ground course development. Using autoethnography as inquiry, the early childhood teacher educator who taught the course reflects on course development, implementation, assessment, and reflections on preservice teachers’ (PSTs) lived experiences during class activities. Fitness and physical activity were central to the course which covers a range of topics including health foundations, social and emotional learning, mindful practice, centers for play learning, and observation and assessment. PSTs engaged in purposeful activities such as movement to music, games, dance, mindfulness, and outdoor exploration. Descriptions of students’ varied opinions about the open-ended, physical experiences are addressed with some PSTs being highly engaged and others struggling with open-ended movement experiences.
Philbert, J. K., De Sousa, I., Wytenbroek, L., & Boschma, G. (2024). What got us here won’t get us there: Critical history in radical black re-imaginations of Canadian nursing histories. Canadian Journal of Nursing Research, 08445621241252187. https://doi.org/10.1177/08445621241252187
As a “foursome” of nursing history students and scholars, upcoming, junior, and seasoned, we presented a panel on new work and possibilities related to histories of Blackness and Black nurses in Canadian nursing history. Our presentation was the 2023 keynote Hannah Panel Presentation for the joint Canadian Society for the History of Medicine (CSHM-SCHM) and the Canadian Association for the History of Nursing (CAHN-ACHN) conference. Reflecting and expanding our perspectives, we share the relevance and significance of engaging with histories of Canadian Blackness and (in)visibility of Blackness in nursing history. This paper considers the overarching question of how does engaging with histories of Canadian Blackness serve as an anti-racist strategy when examining, analyzing and understanding the history of nursing and health care? A core tenant of this work aims at acknowledging how institutional relationships of power are reproduced within scholarship unless there is space for radical re-imaginations. The disruption to power is achieved by exploring the connections between nursing and history from the perspective of Black nurses’ history or Black feminist thought. We also disrupt power by our form, in challenging expectations of scientific inquiry as the only format of valid knowledge production within the discipline. Possibilities of arts-based methodology as a site for democratization in nursing knowledge are evoked through the metaphoric language (water, fire, air and earth) interwoven within the text. We highlight how each of us engages with nursing history, further complicating previous narratives of our collective Canadian past. In publishing our thoughts on historical inquiry in a nursing journal, we hope to provoke more curiosity and interest in history within our discipline as a site for liberation!
Rallis, N., Leddy, S., & Irwin, R. (2024). Braiding a/r/tography & métissage: Thinking together on the work of Sonny Assu: réflexion concertée sur l’œuvre de Sonny Assu. The Canadian Review of Art Education, 50(1), 5–21. https://doi.org/10.26443/crae.v50i1.206
Three art educators come together to respond to the work of Sonny Assu, Ligwilda’xw of the Kwakwaka’wakw Nations, who was invited as an artist-in-residence to a graduate seminar on Indigenous visual expression as pedagogy. Engaging with the concepts of Indigenous métissage, diffraction, and a/r/tography, we weave together our personal stories, identities, and practices. We discuss ways to engage in anti-colonial teaching practices that provide openings for students to retrace, reimagine, and reconcile their understandings of Indigenous-settler relations in Canada. Our call to action asks art educators to consider Indigenous métissage as an important diffractive research practice and pedagogical praxis.
Rallis, N., Leddy, S., & Irwin, R. L. (2024). Relational ethics through the flesh: Considerations for an anti-colonial future in art education. Qualitative Inquiry, 30(2), 212–219. https://doi.org/10.1177/10778004231176091
In this article, we reflect on our teaching practices that include the development of an artist-in-residency program in one teacher education course and one graduate course in the Fall of 2022 at The University of British Columbia. During these residencies, Carrier Wit’at artist and printmaker Whess Harman and Indigenous scholar and a/r/tographer Jocelyne Robinson of the Algonquin Timiskaming First Nation demonstrate through their art practices how love and land are central tenets to relational ethics. We engage with Cherrie Moraga and Gloria Anzaldua’s theory in the flesh alongside the artists-in-residencies as we consider an anti-colonial future in art education. We propose the concept of relational ethics through the flesh as a reflexive, embodied, social justice–oriented way of being in the world.
Rallis, N., Morimoto, K., Sorensen, M., Triggs, V., & Irwin, R. L. (Eds.). (2024). Walking in art education: Ecopedagogical and a/r/tographical encounters. Intellect.
In Walking in Art Education, authors explore walking and a/r/tography in their local contexts. As a result, the book finds that kinship and relationality are signifi cant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships, while also moving us past Western-centric understandings of land and place. More than this, the book situates this work in a/r/tographic practices taking up walking as one method for engagement.
Robinson, D. B. (2024). Action research and school community health and wellness: An introduction to a Canadian Journal of Action Research (Special Issue). The Canadian Journal of Action Research, 24(3), 2–6.
[No abstract was found.]
Roksvåg, K. (2024). Abstrakt og poetisk multiplananimasjon: Et a/r/tografisk utviklingsarbeid om kroppsliggjort kunnskap. Formakademisk, 17(2). https://doi.org/10.7577/formakademisk.5669
Denne multimodale artikkelen bygger på et kunstnerisk utviklingsarbeid der forfatteren har arbeidet utforskende med abstrakt multiplananimasjon. Undersøkelsen plasseres metodologisk innenfor a/r/tografi, og teorier om kroppsliggjort kunnskap anvendes som læringsteoretisk rammeverk. Gjennom fotodokumentasjon, skriftlig tekst og animasjonsfilm synliggjøres kroppsliggjort kunnskap om multiplananimasjon som teknikk og kunstnerisk uttrykksform, og dens potensiale i en læringssammenheng med barn i barnehage og grunnskole. I en videre sammenheng undersøkes animasjonens mulighet til å utvikle ny og utvidet kunnskap om koblinger mellom materialer og teknologi, og utgjør et bidrag til en ny material-digital praksis som ivaretar et helhetlig læringssyn. Forskningsspørsmålet som stilles er; Hvilke kroppsliggjorte kunnskaper om multiplananimasjon kan utvikles gjennom kunstnerisk utforsking? Spørsmålet drøftes gjennom følgende tre kategorier: (1) Abstrakt multiplananimasjon som en poetisk bevegelse; (2) Multiplananimasjon som en romlig collage (3); Multiplananimasjon som langsom kunnskap og langsomt håndverk.
This multimodal article presents a work of artistic research in which the author explores and poetic multiplane animation. Methodologically, the research is situated within a/r/tography, with a theoretical framework grounded in theories of embodied knowledge. Through photo documentation, written text, and animation film, the study reveals the embodied knowledge of multiplane animation as both a technique and an artistic form of expression, highlighting its potential in educational settings with children in kindergarten and primary school. Additionally, the article examines how animation can foster new and expanded understandings of the connections between materials and technology, contributing to a material-digital practice aligned with children’s embodied ways of learning. The research question addressed is: What embodied knowledge about multiplane animation can be developed through artistic exploration, and what learning potential exists in exploratory and creative work with multiplane animation together with children? This question is discussed through three categories: (1) multiplane animation as a poetic movement; (2) Multiplane animation as a spatial collage; (3) Multiplane animation as slow knowledge and slow craft.
Salido López, P. V. (2024). El concepto de competencia en conciencia y expresiones culturales en la formación inicial de docentes: Evaluación de un programa pedagógico basado en los principios de las metodologías activas. Revista Complutense de Educación, 35(1), 175–185. https://doi.org/10.5209/rced.82979
INTRODUCCIÓN. La renovación de la pedagogía de las artes en la formación inicial de docentes no debe permanecer ajena a la amplitud de conceptos que articulan la competencia en conciencia y expresiones culturales (CCEC), una de las competencias clave que el marco europeo recomienda incluir en el sistema educativo. MÉTODO. A través de la asignación de valores numéricos a diferentes datos cualitativos para su transformación en resultados cuantitativos, se analiza cuál es el concepto de CCEC adquirido por un grupo de docentes en formación. Con la referencia de este estudio previo, y atendiendo a un planteamiento de investigación a/r/tográfico, se evalúan los efectos del Aprendizaje Basado en Proyectos de naturaleza artística (ABP-A) en la formación recibida por futuros y futuras profesionales de la educación. RESULTADOS Y DISCUSIÓN. Los datos recogidos evidenciaron la necesidad de abordar un proceso de profundización en la conceptualización de la CCEC con los docentes en formación y de analizar su relación con el área de Educación Artística. En otro orden de cosas, el modelo de ABP-A como estrategia formativa permitió reflexionar sobre lo que supone ser competente desde el punto de vista cultural y artístico en el contexto de un área de conocimiento que, además de centrarse en la expresión, no se olvida del componente humanístico de la obra de arte. CONCLUSIÓN. La esencia de una Educación Artística renovada y abanderada de la CCEC debe ocupar un lugar prioritario en la práctica de aula. Ante esta realidad, abordar la formación de docentes desde los principios de las metodologías activas permite situar nuestra disciplina en un marco pedagógico que, alejado de la exclusiva transformación de materiales a través de la manipulación, afianza la presencia de las artes y su componente cultural en educación.
INTRODUCTION. The renewal of arts pedagogy in initial teacher training must not remain indifferent to the amplitude of concepts that articulate competence in cultural awareness and expressions (CCAE), one of the key competences the European framework recommends including in our Educational system. METHOD. Based on the assignment of values that allow the transformation of qualitative data into quantitative results, this study evaluates the concept of CCAE acquired by a group of teachers during their training. On the other hand, considering a qualitative a/r/tographic research approach, the effects of a programme rooted on the principles of Project-Based Learning of artistic nature (PBL-A) during the training received by the group of future education professionals are shown. RESULTS AND DISCUSSION. The data collected outstood the need to address a process of conceptualization of such competence towards the teachers in training and to analyze their relationship with the area of Art Education. On the other hand, the model of PBL-A as a training strategy evidenced a new perspective about what being competent from the cultural and artistic point of view is in the context of an area of knowledge that, in addition to focusing on expression through artistic languages, does not forget the humanistic component of artwork. CONCLUSION. The essence of contemporary Art Education and standard-bearer of the CCAE must occupy a priority place in classroom practice. Bearing this reality in mind, this reality, approaching teacher training from the principles of active methodologies means placing our discipline in a pedagogical framework that, far from the exclusive transformation of materials through manipulation, allows us to strengthen the presence of arts and their cultural component in education.
Sarreshtehdari, E., Baldus, A. I., & Irwin, R. L. (2024). In-betweenness “walked in the Style of” A/r/tography. IJABER International Journal of Arts-Based Educational Research, 2(2), 25–35. https://doi.org/10.17979/ijaber.2024.2.2.11229
In this paper, we attend to the concept of in-betweenness as one of the prominent concepts used in a/r/tographical practices. We ask how in-betweenness emerges from creative practices across the field of art education and how a/r/tography embraces these nuances to open new possibilities within research inquiries. Alongside these questions, we expand and compare literature focusing on variations of in-betweenness before narrating how we explored taking up this concept through a propositional walking practice. In so doing, we elaborate on how many walking practices literally or metaphorically represent the concept of in-betweenness.
Schei, T. B., Holdhus, K., & Ehrlich, A. (Eds.). (2024). Methodological musings: Thinking with narrative in music education research. Springer Nature Switzerland. https://doi.org/10.1007/978-3-031-67965-0_1
In this chapter, the three editors address the book’s main theme, namely how methodologies unfold in narrative inquiry (NI). Narrative inquiry is perceived as a complex and ambiguous endeavor that could be subject to vast and broad ways of methodological diversity. The chapter displays an interest towards enhanced methodological awareness when conducting Narrative Inquiry in music education. The chapter discusses how methodologies in music education NI are made explicit and reflected over when chosen, when in use, and in (re)presentation, and the authors offer examples of narrative methodologies originating from other academic fields than music education as sources for reflection and inspiration. The authors sort methodological approaches to NI in music education into three spatial core features: Across (transdisciplinearities), between (positionings, power, structures) and beyond (futures, multimodalities, posthumanist ontology) to group and address methodological issues in music narrative inquiry.
Skregelid, L. (2024). BAD: body – art – digital technology. Nordic Journal of Art & Research, 13(3), 1–26. https://doi.org/10.7577/ar.5454
During the first lockdown in March 2020, I started running two to three times a week to a nearby beach. Since then, I have stopped each time about halfway, and have been filming the sea view from the same spot for 30 seconds with my mobile phone. The now over 550 films (October 2024) are stored on the digital platform Padlet that makes it possible to share with others. The project My stunning stream – Made with a little mischief (Skregelid, 2020-) makes use of a/r/tography which is a practice-based methodological approach that unites art, education, and research. A/r/tography explores art, research and education as forms of performative, explorative and lived inquiry, and thereby stretches the boundaries between these domains. This article draws attention to how the body and digital technology are entangled and interwoven in this project, and how this affective connectedness offers potentials for enabling ecological awareness in educational settings. It makes use of theories that consider bodies and technologies as united intra-actions and that are concerned with how to live your life in the world.
Søyland, L., & Waterhouse, A. H. L. (2024). Ikke helt A4! : Betydningen av utforskende, kroppslige og materielle tegneprosesser. Formakademisk, 17(2). https://doi.org/10.7577/formakademisk.5672
Artikkelen tar utgangspunkt i en a/r/tografisk undersøkelse om samtidstegning som handling gjennom et undervisningsprosjekt med en gruppe barnehagelærerstudenter. Vår erfaring er at tegning i barnehagen ofte gjennomføres som bordaktivitet med ark i formatet A4. Det begrenser barns muligheter til å tegne med hele kroppen og låser tegneuttrykket til et lite og avgrenset format. Vi undersøker derfor andre og mer eksperimenterende innganger til en utvidet forståelse av hva tegning kan være. Hva skjer når vi inviterer studenter til utforskende, materielle og kroppslige tegneprosesser? Og hvilke kunnskaper produseres om tegning, og om det å tegne? I artikkelen diskuteres dette i relasjon til: 1) Kropp og materialer 2) Nærvær, temporalitet og rytme 3) Risiko og tilfeldighet. Avslutningsvis diskuteres hvordan utforskende, kroppslige og materielle tegnepraksiser kan utformes i barnehage og barnehagelærerutdanning.
This article presents an a/r/tographic investigation into contemporary drawing as action through a teaching project with a group of early childhood teacher education students. Our experience shows that drawing activities in kindergarten are often limited to table tasks using A4 sheets of paper. This restricts children’s opportunities to engage in full-body drawing experiences and confines their expressive potential to a small, limited format. In response, we explore alternative and experimental approaches to broaden the understanding of drawing. We ask: What happens when students are invited to engage in exploratory, material, and bodily drawing processes that go beyond the A4 format? What new knowledge about drawing is produced in this expanded context? The article examines drawing processes in relation to three key areas: 1) The body’s interactions (encounters?) with materials, 2) Presence, temporality, and rhythm, and 3) Risk and chance. In conclusion, we discuss how these exploratory, bodily, and material drawing practices can be integrated into the interactions between children and adults in both kindergarten and school settings.
Stabler, A. (2024). Data, disability, detour, détournement. JCT (Online), 39(1b), 1–16.
[No abstract was found.]
Tullberg, M., & Sæther, E. (2024). Axes of resonance in music education: An artographic exploration. Nordic Journal of Art & Research, 13(3), 1–25. https://doi.org/10.7577/ar.5402
This article discusses the potentials of a/r/tography aka artography against the background of life in an accelerating academia that is increasingly shallow and unfulfilling, and where quality is only indirectly measured using bibliometrics. We find Hartmut Rosa’s concept of resonance to be useful when discussing the values that get lost in such a system. We appreciate the arguments for a slower, deeper, and more collegial way of working. It is where the distractions of ordinary life intersect with the vision of a more profound, qualitative way of working that we make our arguments for an artographic way of being. However, we also identify challenges by drawing on experiences in our own working lives, and specifically our ongoing collaborative research project. Exploring options for navigating around the constraints, we suggest a ‘toolbox’ for how the individual artographer can contribute to making academia a more resonant space.
Valenzuela-Levi, N., Ramírez, N. G., Nilo, C., Ponce-Méndez, J., Kristjanpoller, W., Zúñiga, M., & Torres, N. (2024). A cyborg walk for urban analysis? From existing walking methodologies to the integration of machine learning. Land, 13(8), 1211. https://doi.org/10.3390/land13081211
Although walking methodologies (WMs) and machine learning (ML) have been objects of interest for urban scholars, it is difficult to find research that integrates both. We propose a ‘cyborg walk’ method and apply it to studying litter in public spaces. Walking routes are created based on an unsupervised learning algorithm (k-means) to classify public spaces. Then, a deep learning model (YOLOv5) is used to collect data from geotagged photos taken by an automatic Insta360 X3 camera worn by human walkers. Results from image recognition have an accuracy between 83.7% and 95%, which is similar to what is validated by the literature. The data collected by the machine are automatically georeferenced thanks to the metadata generated by a GPS attached to the camera. WMs could benefit from the introduction of ML for informative route optimisation and georeferenced visual data quantification. The links between these findings and the existing WM literature are discussed, reflecting on the parallels between this ‘cyborg walk’ experiment and the seminal cyborg metaphor proposed by Donna Haraway.
Vist, T., Waterhouse, A.-H. L., Jensen, M., & Danbolt, I. (2024). Å leve som a/r/tograf – et nordisk perspektiv: Introduksjon. Nordic Journal of Art & Research, 13(3), 1–20. https://doi.org/10.7577/ar.6121
This special issue of Nordic Journal for Art & Research is devoted to the arts-based methodology a/r/tography, as it is understood and conducted in the Nordic countries. Living as an a/r/tographer—a Nordic perspective enlightens the a/r/tographic space between the artist (a), researcher (r), and teacher (t) as well as between the personal or individual and the social—such as communities of practice. In this introduction, the four editors reveal the background and history of the special issue and shortly present the 13 peer reviewed articles in its first part. They also give newcomers a short introduction to the field and discuss some of the core topics relevant to their editorial work. The aim for the issue is to contribute to knowledge that shed light on the distinctive position that characterizes the work of academic staff in the arts in the Nordic teacher educations. However, the article submissions revealed and interest in a/r/tography far beyond teacher education, and the editors chose to include nearby a/r/tographic contributions too. This is a position which develops distinctive competences in its participants, but also a position with demanding work tasks in different directions.
Wakui, T., & Nakamura, S. (2024). A study of the learning structure of generative expression and classroom support in arts and crafts. Journal of Elementary Education and Curriculum, 12, 31–40. https://doi.org/10.60451/seec.12.0_31
In this paper, we examine the class structure and kind of guidance and support teachers must provide to their students to create new meanings and values through the generative production of artworks in the subject of “”Representation in Pictures” for 6th grade elementary school students. This study shows that students can create new images beyond the generative exploration of unknown expressive activities by 1) responding flexibly to the changes produced by the relationship with materials and the act of expression and 2) using even deviations from the expected image, accidental discoveries, and failures as triggers to begin the search for a new image. Through the discovery or accidental discovery of an image as well as the failure of an image being a trigger for the search for a new image to begin, it is possible to create a new image beyond the generative exploration of unknown expressive activities. Simultaneously, it was found that it is important for teachers to establish flexible learning settings and explore together with children as an open teacher through ‘individualized guidance’ from the viewpoint of the process of “Formative Play” activities and reflective appreciation activities.
Waterhouse, A.-H. L., Carlsen, K., & Iversen, T. (2024). Å (sammen)filte(s) med ull og steder gjennom a-r-t-ografiens agenser i undervisning. Nordic Journal of Art & Research, 13(3), 1–32. https://doi.org/10.7577/ar.5487
This article is written based on a teaching situation together with a group of students from early childhood teacher education and a large amount of discarded wool from Norwegian wild sheep. With a-r-t-ography as research methodology and pedagogical strategy, we explore how we can co-create through research, teaching and artistic making with wool, felting, students and places, and in what ways a-r-t-tography contributes to expanding our thinking about teaching when we move the workshop out into the open air. The study is rooted in process philosophy, posthuman perspectives and art-based research.
Whittington, M. (2024). Review of a/r/tography: essential readings and conversations, Rita L. Irwin, Alexandra Lasczik, Anita Sinner and Valerie Triggs (eds) (2024). International Journal of Education through Art, 20(3), 458–460. (180726235). https://doi.org/10.1386/eta_00180_5
Yerichuk, D., & Kinnunen, C. (2024). Fumbling towards community-engaged opera creation: A reflexive dialogue. NaN, (3), 255–270. https://doi.org/10.1386/ijcm_00087_1
This article analyses reflections of two years of an opera creation project that integrated professional artists with community participants. The authors, who were involved as artists in the project, explore one line of inquiry guiding the larger project: can the perceived exclusive, high-cultured opera medium welcome amateur performers successfully? What is the nature of the collaboration? The authors integrated critical discourse studies (CDS) with arts-informed research practices to inform methodology. The analysis is presented as a scripted dialogue, focusing on three interconnected themes: the relationship of opera to community music; tensions of inclusivity in a creative project occurring during the COVID-19 pandemic; and considering creative and decision-making processes in co-creation. We examine how our experiences were organized though language and connected to discourses of inclusivity and excellence in community music.
Yoo, J. (2024). Interweaving artist-researcher-teacher identities: Facilitating visitor-artwork interactions. Visual Studies, 39(4), 748–754. https://doi.org/10.1080/1472586X.2023.2248073
This visual essay portrays how an artist-researcher-teacher investigates the idea of a/r/tography and constructivist teaching pedagogy while using her own artwork, Fantasy Museum, as a platform for teaching. Fantasy Museum features a series of digitally altered photographs of museum visitors viewing emptied artworks, and visitors are invited to draw their own collections inside the empty spaces, which will later be displayed together in exhibitions. An inquiry-based approach is adopted to facilitate viewers’ participation. Fantasy Museum was shown in several solo and group exhibitions and classroom settings in Seoul, Korea and New York from 2014 to 2019. The project invited various participants (ages roughly between six and 40) to collaborate. This article illustrates the author’s attempt to interweave her identities and practices into the project and possibly offers pedagogical implications for the readers.
Yu, H., & Mei, J. (2024). Dance improvisation as an embodied encounter with heritage site: A case in the archaeological ruins of Liangzhu. International Journal of Heritage Studies, 30(5), 597–611. https://doi.org/10.1080/13527258.2024.2323534
This article explores dance improvisation as an alternative mode of understanding the archaeological heritage site beyond representational knowledge. Drawing on projects undertaken on Liangzhu Archaeological Site over the past five years (2018–2023), we have employed dance improvisation as a method for participants to explore here and now interactions with the heritage site, focusing on their sensing, feeling and thinking. Using an A/r/tography methodology, this study considers how intersections of art-making and writing allow new meanings and bodily interpretation to emerge during the improvisation process. Participant reflection notes reveal how embodied encounters create space for rhizomatic interpretations of the archaeological site, transcending power dynamics embedded in existing politically-sacred and archaeologically-authoritative knowledge systems.
曦彤廖. (2024). A/r/tography による協同探求の生成と探求者間の相互作用 －ムービーや写真を使った映像表現の事例をふまえて－. 美術教育学：美術科教育学会誌, 45, 287–303. https://doi.org/10.24455/aaej.45.0_287
The purpose of this study is to clarify the generation of collaborative inquiry through art/artography, a method of self-reflection and inquiry for artists, researchers, and educators, and the interactions among the seekers. To achieve this objective, we conducted participant observation of cases of seekers using movies and photographs for each research question. Examination of the generation of inquiry revealed three processes: collaboration and development, refinement and deepening, and presentation and sharing. The interaction among seekers confirmed that the interplay of multiple inquiries leads to complexity, and that inquiry and expression expand rhizally. Inquirers expand their inquiry by thinking across disciplines based on their diverse practical experiences and sharing, dialogue, and discussion from multiple perspectives. This expansion of inquiry suggests the potential of collaborative inquiry through art/artography, as seen in these cases.
由季横山, & 吏志池田. (2024). 知的障害のある児童の創造的活動における好奇心と探究過程の様相 －「トリックアート」の実践を通して－. 美術教育学：美術科教育学会誌, 45, 271–286. https://doi.org/10.24455/aaej.45.0_271
Curiosity is the desire to acquire new information and is considered the source of inquiry and creativity. This study used ethnographic methods to examine the increased curiosity and inquisitive behavior of children with intellectual disabilities during creative activities involving the creation and interaction of “trick art.” “Trick art” refers to composite photographs in which children appear to be incorporated into images or photographs they like. The children began to generate new behaviors and expressions influenced by their friends. Even after the completion of this practice, it was inferred that the children continued to generate inquiry and creativity based on their curiosity, and that a sense of creative self-efficacy began to emerge. Factors that fostered curiosity included the method of interaction, the creation of a suitable environment, and novel activities.
- The publication list and accompanying image were created by Marzieh Mosavarzadeh.