Arts Education and Pedagogy

Kinder zeichnen schon sehr lange. Und es ist schwer vorstellbar, dass sie es nicht in jeder Kultur getan haben, die den allgemeinen Gebrauch von Ritzinstrumenten oder Stiften und Formen der bildlichen Repräsentation kannte. Dennoch ist die ›Entdeckung‹ der Kinderzeichnung ein genuin modernes Phänomen. Seit dem 16. Jahrhundert ist ein Interesse der professionellen Maler am Phänomen Kinderzeichnung nachweisbar, aber erst in den 1880er Jahren werden die graphischen Versuche der Kinder zum Gegenstand wissenschaftlicher Reflexion. Die »Kunst der Kinder« etablierte sich in der Folge als ein wichtiges Instrument der Entwicklungs- und Intelligenzpsychologie, der Pädagogik und Psychoanalyse. Die Wissenschaften vom Kinde erschlossen das Zeichnen als ein Mittel der Kommunikation, welches Dispositionen, Bedürfnisse und Konflikte dokumentiert, die das Kind selbst (noch) nicht sprachlich artikulieren kann. Mehr noch als das Spiel oder die Phantasie- und Lügengeschichten soll die Kinderzeichnung seither Auskunft geben über Entwicklung, Intelligenz und Raumwahrnehmung, über psychische Veranlagung und psychoanalytische Ätiologie. Das Zeichnen wurde damit als Instrument einer Normalisierung des Kindes in Dienst genommen. Die Experimentalisierung der Kinderzeichnung brachte aber auch ein neues Verständnis der anthropologischen Funktion des Zeichnens hervor, das uns bis heute begleitet: Sie hat den Blick dafür geschärft, dass es sich schon bei der harmlosesten Kritzelei um ein Medium der Subjektwerdung des Kindes handelt, das es ihm ermöglicht und erleichtert ein erkennendes, denkendes und handelndes Subjekt zu werden.

This article discusses an action research project in which critical
Disability Studies pedagogy was integrated into two Art Education courses for preservice art teachers. Research participants investigated Disability Studies literature and disability visual culture and designed lesson plans, teacher art examples, and artist’s statements that confronted ableism. Attitudinal surveys were administered before and after
the project, and several participants were interviewed. First, the project is described; then, student outcomes are examined to illuminate Fiona Campbell’s research on ableism, specifically the two core elements that are central to regimes of ableism: the notion of the normative and normate individual and the enforcement of an able/not-able constitutional divide. Data suggest that preservice art teachers are ready and willing to engage Disability Studies pedagogy in pK–12 classrooms; as
such, this study anticipates a Disability Studies Art Education agenda and exemplifies how Art Education can inform Disability Studies in expanding beyond academia.

"Welcome to this short publication created to support
learning in the creative arts. This is one of a series
that address issues for students and tutors in higher
education and we believe that other discipline areas
would also find them useful. The series has been
developed by the Creative Learning in Practice Centre
for Excellence in Teaching and Learning at the University
of the Arts London 2008. The previous series of CLIP CETL
publications, explored issues on Teaching and
Learning for International Students, PPD Learning for
Life, ‘Tell Us About It’ Student Voices in Creative Practice
and Collection of Projects from 2005 and 2007.

The centre received funding for five years from the
Higher Education Funding Council for England to raise
the profile of teaching and learning and to disseminate
good practice across the sector." - Dr Alison Shreeve

The present study employed population-level educational records from 4 public school student cohorts (n ϭ 112,916; Grades 7-12) in British Columbia (Canada) to examine relationships between music education (any participation, type of participation, music achievement, and engagement level) and mathematics and science achievement in Grade 10 as well as English achievement in Grades 10 and 12, while controlling for language/cultural background, Grade 7 academic achievement, and neighborhood socioeconomic status. Music participation was related to higher scores on all 4 subjects and these relationships were stronger for instrumental music than vocal music (Cohen's d range: .28 to .44 [small-medium effect sizes] and .05 to .13 [null-small effect sizes]). School music achievement positively related to scores on all subjects; such relationships were stronger for achievement in instrumental music compared with vocal music. Higher levels of music engagement (number of courses) was related to higher exam scores on all subjects; this pattern was more pronounced for very high engagement in instrumental music (d range: .37 to .55; medium effect sizes) compared with vocal music (d range: .11 to .26; small effect sizes). The effect sizes of these group differences are greater than the effect sizes corresponding to average annual gains of students' academic achievement during high school-in other words, highly engaged instrumental music students were, on average, academically over 1 year ahead of their peers. The findings suggest that multiyear engagement in music, especially instrumental music, may benefit high school academic achievement. Findings and implications are discussed within the broader interdisciplinary literature on music learning. Educational Impact and Implications Statement This large-scale study identified evidence of positive relationships between school music participation and high school exam scores in English, mathematics, and science using population-level educational records for over 110,000 students in British Columbia, Canada. Participation in school music (especially instrumental music) was related to higher exam scores, and students with higher levels of school music engagement had higher exam scores. The positive relationships between music engagement and academic achievement were independent of students' previous (Grade 7) achievement, sex, cultural background, and neighborhood socioeconomic status, and were of considerable magnitude: The group differences observed in our study were greater than average annual gains in academic achievement during high school. In other words, students highly engaged in music were, on average, academically over 1 year ahead of the peers not engaged in school music. In light of this study (the largest of its kind to date), as well as supporting evidence suggesting music learning in childhood may foster competencies (e.g., executive functioning) that support academic achievement, educators may consider the potential positive influence of school music on students' high school achievement.

This article discusses the results of a one-year study in a physically isolated school community in Queensland, Australia. The decision-making processes in the selection of school subjects became the focus for interviews conducted with the school community (students, parents, and teachers) and the vehicle for identifying the held conceptions of art education programs. The school community's conceptions of art education programs were examined and analyzed resulting in the identification of four categories: (a) cognitive abilities and expression, (b) the enjoyment of practical tasks, (c) employment for girls, and (d) the lack or existence of theory within the art education programs. The results suggest that the rural and remote geographical location of an Australian community has an influence on the held conceptions of art education. https://doi.org/10.1080/00393541.2007.11518723

This article stems from a story of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique period of change in neighboring social science disciplines, a turn of the tide that involves the embrace of narrative methods to rewrite prevailing working models and paradigms of social science practice. Here at the start of the 21st century, art education continues to be practiced in the thrall of a scientific paradigm that misunderstands the greater potential of the arts in education, often imposing a ceiling ill-fitted for arts praxis, arts-based research, or arts pedagogy. The author argues that art education is also at a turn of the tide and surmises some of the unexpected outcomes when new and ex-centric stories of learning and a “pedagogy of possibility” are more thoroughly explored, allowing practitioners to fully rethink an art education practice without taxonomic ceilings and within the shelter of the unexplored labyrinth.

The current state in the area of visual art creation, characterized by a continuous as well as a radical expansion of its boundaries, sets forth an issue for an analogous diversification in the art teaching field. Within this context, various questions and proposals are set forth as to the direction that a teaching intervention, able to promote and handle subjectivity, fluidity and relativity in the artistic work, may take. Should we promote a “safe” approach, should the educational condition further “loosen”, or should the cognitive field be radically transformed? These concerns constitute three essentially different viewpoints, all of which are examined in this article. Within the scope of the approach hereby adopted, a synchronization with artistic reality urges art education towards an exceptionally wide and multifaceted teaching approach, strengthening the need of children to perceive, comprehend, interpret and criticize the variety of visual forms available to them. KEYWORDS A...

ART3 / časopis Akadémie umení v Banskej Bystrici.
Z obsahu: Naši umelci v Abu Dhabí /Horizonty umenia 4/ Tradícia Artoria žije ďalej/  Hra na Ľuda Ondrejova alebo keď sa autor modlí.../ Naturisti a humoristi mladého slovenského sochárstva / Žijeme už postpostmodernú dobu?/ Aby herci boli uveriteľní.../ Ani ďaleko, ani blízko/ Teatrológovia o divadle krásy a pohody / Stretnutie nad zborovou
partitúrou VI./ a ďalšie

Dátum vydania: december 2017 
Vydavateľ: Akadémia umení v Banskej Bystrici, Kollárova 22, 974 01 Banská Bystrica. EV 5325/16 / ISSN 2453-7349 / ISBN 978-80-89555-65-9 / EAN 9788089555659

Communities@Work provides a broad suite of quality community programs of social value and practical benefit. Our vision is for a resilient and socially inclusive community that cares for the well-being of all. Communities@Work's Centre of Professional Learning and Education provides quality professional learning and support for the education and care sector.

ART3 / časopis Akadémie umení v Banskej Bystrici.
Z obsahu: Adamčiak, opäť!/Zvuky/Kódy/Obrazy –/Bratislavská derniéra/Kovalčíková do Varšavy,Sanitra do Belehradu/Za Jánom Findrom/Svet cimbalu v knižnej podobe/Medzinárodné workshopy na FVU/ Perla a iné premiéry pred prázdninami/ Projekt Kompost v plnom prúde/Pod Sitnom v znamení klasickej gitarovej hry/ Saparove Nájdené v Bratislave/ Úspešné muzikálové fragmenty/a ďalšie.

Dátum vydania: jún 2019.
Vydavateľ: Akadémia umení v Banskej Bystrici, Kollárova 22, 974 01 Banská Bystrica. EV 5325/16 / ISSN 2453-7349 / ISBN 978-80-89555-65-9 / EAN 9788089555659

The article was published after my participation at international conference School and museums (Šola in muzeji) which was held in Ptuj, Slovenia, on 15th and 16th of March 2019.

Abstract in English:

A guided exhibition tour as an integrated experience: beyond the aesthetic experience of an artwork

In the context of the interpretation of contemporary works of art, the sense of the individual's cognitive abilities and his knowledge of art history as well as contemporary art theories are placed to the forefront. Such mental preoccupation marginalizes the emotional and sensual experience of artworks, which results in the limitation of the versatility of our perception system.
In the case of the guiding tour, which I performed as a collaborator of the International Center for Graphic Arts in Ljubljana within the framework of the 32nd Biennial of Graphic Arts, I investigated the more innovative forms of museum-pedagogical approaches, those that not only seek to acquire new knowledge in the field of art and art theories, but go beyond the established concepts of reception of works of art and promote a more comprehensive art experience.
I propose different, interdisciplinary and integrated approaches to the interpretation of art with the emphasis on strengthening the individual's physical intelligence, the one intelligence that, in my opinion, is within museum pedagogy most neglected.

invites you to submit abstracts for an online colloquium on 'South African Music Abroad Since 1994: Meanings in Cultural Diplomacy, Exchange and Collaboration'. The colloquium will be hosted virtually (online) on 8-9 July 2022. The colloquium aims to document, discuss, and locate the cultural, diplomatic, economic, capacity building, skills development, and other political or public policy-related dimensions of the presence(s) of South African music, whether temporary or prolonged, in different countries from 1994.

What if there was a way of thinking about our own teaching as an art practice, and what if our teaching-as-art-practice was the most radical form of expression to ever exist? This book presents an argument for this possibility in two forms: First through a lecture about the latent expertise of everydayness, the overlap of conceptual art and teaching, and the materiality of invisibility. Then, 33 teachers from DC, Virginia and Maryland came together to write 120 pages in 90 minutes. In those pages the reader is treated to multiple lifetimes' worth of sage advice, scholarly and pedagogical inspiration, and conceptualizations for a teaching practice that is simultaneously an art work.

This book was published in collaboration with the Kennedy Center for the Performing Arts in Washington DC. Hard copies of the book can be attained by following the directions on this webpage: https://www.jorgelucero.com/work#/teacher-as-artistinresidence/

Este libro defiende una educación artística en edades tempranas no cercenada por prejuicio alguno, que pueda llevar a parcializar o enajenar la propia materia o la acción docente. Para ello se desarrollan cuatro cuestiones axiales que comprometen hoy la enseñanza del arte. La primera demanda una apertura fenomenológica de amplio espectro, así como una interpretación desprejuiciada del disfrute estético infantil. La segunda analiza el carácter ontológico que ostenta la expresión plástica innata desarrollada por los niños, contemplada desde un inédito enfoque arqueológico. En tercer lugar se aborda, desde una imprescindible óptica crítica, algunos temas de rabiosa actualidad para el vigente reformismo pedagógico, como son la creatividad y la inteligencia emocional. Por último, se analizan algunos tópicos recurrentes en la común didáctica de la expresión plástica y del arte, que deben ser corregidos en base a una metodología realista y objetiva de la acción docente. ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––This book defends an artistic education at an early age that is not severed by prejudice, which may lead to bias or alienation of the subject or the teaching action. For this, four axial questions are developed that today compromise the teaching of art. The first demands a broad-spectrum phenomenological opening, as well as an unprejudiced interpretation of the aesthetic enjoyment of children. The second analyzes the ontological character of the innate plastic expression developed by children, contemplated from an unprecedented archaeological approach. In the third place, from an essential critical perspective, some topics of rabid current relevance to the current pedagogical reformism are addressed, such as creativity and emotional intelligence. Finally, some recurrent topics in the common didactic of artistic expression and art are analyzed, which must be corrected based on a realistic and objective methodology of the teaching action.
––––––––––––––––––––––––––––––––––––––––––––––––––––––––Juan Martínez Moro, Dionisos, Picasso y los niños. Breviario para docentes incorformistas, Madrid, Ediciones de la Torre, 2018, 174 pp. ISBN: 978-84-7960-815-6 / www.edicionesdelatorre.com

One day I noticed the art bin in our fourth grade classroom contained a handful of markers that had been gutted. Not only were the tops missing but the end caps and ink-filled cores as well. A similar thing happened a few years earlier when our supply of retractable ballpoint pens were poached and dismantled so that their springs could be used as mini catapults. When I inquired a few students mentioned they had seen Cooper (a pseudonym) taking the markers apart. Trying not to let my irritation get the best of me, I asked Cooper why he had taken apart the markers. He hardly looked up. He was "making colored ice," he said nonchalantly. My interest was piqued. "Can you show me?" I asked, "Sure" he replied as he walked over to a mini refrigerator in the back of our classroom, opened it, and gestured toward six paper coffee cups inside.

In this essay I examine the racial achievement gap in American education in terms of an impaired psychosocial developmental process. I argue that the well-documented academic underperformance of certain minority groups may stem from the unfavorable resolution of a key developmental crisis in constituent members’ early scholastic experience. I go on to suggest that individual educators can play an important role in eliminating the achievement gap by changing the way they teach in their own classrooms. In part, they may do so by adopting a "transcultural" pedagogy or teaching style, according to which both teachers and their minority students develop (at minimum) transcultural proficiencies and (at maximum) transcultural identities, as a promising way to achieve two important ends. First, the fostering of an academically-industrious self-concept in members of historically underachieving minority groups and hence, second, the closing of the achievement gap "from the bottom up"—one classroom at a time.

The importance of creativity as an attribute of the 21st Century learner is now widely acknowledged and a global trend across all disciplines. To meet both current and future needs of both students and society a university education must develop and support creativity in learners. This paper was developed to outline the range of creative disciplines, the diversity and interconnectedness of the disciplines, and how this is reflected in the needs for appropriate pedagogical models and consequently spaces for learning, both formal and informal. A number of pedagogical models focussed on supporting and encouraging creativity are currently in practice. However, new models are emerging as creative disciplines are becoming augmented with new and innovative technologies, including biotechnologies, and the vast possibilities of contemporary creative media. This paper addresses the Creative Disciplines of Visual Arts, Performing Arts, Design Arts, Media Arts, Literary Arts and Hybrid Arts and explains the need for Creative Curricula. Creative disciplines are diverse yet interconnected and whilst individually unique, they are essentially interdisciplinary and linked to needs of cultural and social contexts and professional practice. Engaging students in creative disciplines is linked to the learners through the affective dimensions of the curriculum and motivational factors, and involves experiential learning situated in authentic learning contexts. Design considerations for spaces for learning for creative disciplines must focus beyond contemporary requirement and allow for future expansion or rearrangement depending on needs and areas of development.

Like adults, children only become interested in being involved in any kind of activities when they find them appealing. However, despite being commonplace, this notion is sometimes dismissed by experts and practitioners during the development or application of educational practices, including art lessons. This can have negative consequences when it comes to raising and maintaining children’s interest in art production and appreciation activities. This paper draws on case studies of a group of primary school children; they explained the importance they attached to the aesthetic aspect of drawings, and expressed their concerns and values about drawings. By highlighting the children’s concerns, this paper aims to raise questions about approaches to teaching art to young children and suggests ways in which the findings of the case studies can inform and improve art practices inside primary schools.

Il saggio "L'immagine dell'impresa" è stato pubblicato nel 2011 nel catalogo a corredo della mostra documentaria "Qui...dove la terra finisce e il mare comincia. Memoria e immagine dell'impresa", tenutasi a Brindisi nel 2011 a Palazzo Nervegna. La ricerca e la mostra, promossa dall'AIPAI, Associazione Italiana per il Patrimonio Archeologico industriale, dall'Archivio di Stato di Brindisi e dal CNR IBAM di Lecce, si sono svolte col il sostegno di UnionCamere di Puglia, Camera di Commercio e Confindustria di brindisi. Il Liceo Artistico "E. Simone" di Brindisi, con la guida della prof.ssa Giovanna Bozzi, ha realizzato il progetto e gli allestimenti educativi.

Recollections of an Unconventional Pedagogy appeared in Stories of Teaching at Carleton University in which award-winning teachers were invited to contribute. The book, to celebrate Carleton at 75 yrs,  was launched at the TLS event: Celebrating Teaching Excellence at Carleton.

Cross reference. See also:
"Father Taught Me To Teach" in the Memoir Section
"Thus Spake the Toad" in the Articles Section
"Emergence"  in the Articles Section
"Where Dwellings Dwell: House of Incompleteness" in the Articles Section

Creative Inquiry frames learning and education as a larger manifestation
of the creative impulse rather than as the fundamentally instrumental acquisition, retention, and reproduction of information, or Reproductive Learning.
Montuori, A. (2011). Creative inquiry. In N. M. Seel (Ed.), The encyclopedia of the sciences of learning. Heidelberg: Springer.

In our designed culture, every environment, object and picture is analyzed from the viewpoint of colour and light. Colour and light play an important role in social life and culture. This paper springs from an epistemological project about concept formation in the field of colour and light. Based on own observations and scientific and scholarly references it presents a graphic model describing possible constituent relations between colour and light experiences. Design is the art of using knowledge - implicit or explicit - about how humans perceive, experience, and relate to the world around. In design all senses are involved, but when dealing with colour and light we can confine ourselves to vision; designers must understand the conditions of visual perception. Human experience of colour and light has many sources; the given cultural context (conventional meanings of colour and light), the direct experience of the world around (colour and light expressions) and the basic perceptual ...

A música " O que será " (A flor da pele) de Chico Buarque de Holanda traduz, parcialmente, o que entendo por arte. En-tão, arte seria o: " Que me bole por dentro, Que brota à flor da pele, Que me salta os olhos a me atraiçoar, O que não tem receita, Que desacata a gente, que é revelia, O que não tem descanso nem nunca terá, O que não tem limite, Que me queima por dentro, Que me perturba o sono, O que não tem juízo ". Ou seja, todas aquelas produções humanas que de algum modo mexem com meus sentidos, com meus pensa-mentos, me incomodam, me deslocam, me mobilizam e me fazem compreender a vida por outros pontos de vista consi-dero como produções artísticas. Entretanto, entendo que o que me perturba não se dá numa relação imediata, esponta-neístas entre eu e as coisas, o que me bole é produzido pelo Gottfried Helnwein The Disasters of War 13, 2007, mixed media (oil and acrylic on canvas)

The battle to maintain the inclusion of drama within the curriculum appears to be never-ending, but targeted strategies and arguments for drama’s inclusion may need to be revisited and recalibrated. The important role of professional learning communities and activist communities of practice are identified as being integral to supporting sustainable educational change. This article provides a particular focus on curriculum developments in Australian as a site for some perceived successes in maintaining a space for drama education.

Kulturelle Teilhabe ist in der Allgemeinen Erklärung der Menschenrechte (Artikel 27) als Menschenrecht verankert, gilt jedoch längst nicht für alle. Im Gegenteil: Eine Vielzahl von Menschen wird nicht von öff entlich geförderten kulturellen Angeboten erreicht und hat auch nicht die Möglichkeit, selbst künstlerisch oder kulturell produzierend tätig zu sein bzw. wahrgenommen zu werden. Ausschlüsse oder Barrieren in sowie durch Kunst und Kultur sind weit verbreitet und wirkmächtig. Doch welche Strukturen oder Mechanismen fördern Ausschlüsse? Wie können sie systematisch eruiert, benannt und analysiert werden? Wie lassen sich Forderungen nach Teilhabe, nicht-diskriminierenden Sprachpolitiken und Öff nung von Institutionen tatsächlich einlösen? Und wodurch können Veränderungen in Richtung einer transformativen, emanzipatorischen und solidarischen Arbeit in Kunst und Kultur erzielt werden? Ausgehend von Kritischer Kulturvermittlung und Kritischem Diversity überlegen wir in diesem Gespräch, wie Kulturarbeit als kritische Praxis konzeptualisiert und umgesetzt werden kann.
Dieser Auseinandersetzung ist eine gemeinsame Veranstaltungsreihe zu Kulturarbeit und Diversity5 am Programmbereich Zeitgenössische Kunst und Kulturproduktion des Kooperationsschwerpunktes Wissenschaft und Kunst (Paris-Lodron-Universität und Universität Mozarteum Salzburg) vorausgegangen. Dabei haben wir festgestellt, dass eine konkrete Verbindung von Kritischer Kulturvermittlung – als zentralem Teil von Kulturarbeit – und Kritischem Diversity wichtig ist, um eine allgemeinere Perspektive für eine Kulturarbeit als kritische Praxis zu entwickeln.

Аннотация. Статья анализирует восприятие идей Л.С. Выготского в современной американской
педагогике искусства. Автор рассматривает как официальные источники, так и мнения отдельных
ученых о роли Выготского в гуманитарном знании США. Также в статье приведены примеры
практического применения идей ученого в художественном образовании США.
Abstract. Аn article analyzes different perspectives in acquiring ideas of Lev Vygotsky in the modern
system of Art Education in the USA. An author considers the official academic sources as well as
opinions of several scholars about the impact of Vygotsky’s ideas to the development of educational and
cultural studies in the USA. The article deliberates some examples of practical applications of
Vygotsky’s ideas in American Art Education.

That humans are inseparable from the world around them will not surprise anyone, but this only makes it more remarkable that humans are frequently isolated from their surroundings in human-oriented research and development. The result is invariably that knowledge and products are produced that do not correspond to the reality in which they are used or applied. Fortunately, in many disciplines, so-called 'situated' approaches have emerged, which take as their central premise that humans can only be understood in relation to their environment. Although the notion of 'situatednes s' has had major impact on many disciplines that perform human-centered research and development, it has not gained much ground within the fields of art and design. This chapter will first elaborate on the notion of situatedness and discuss how it applies to art and design. I will then claim that a situated turn in art and design is immanent and discuss its consequences for the production and presentation of art and design, as well as for our understanding of what art and design essentially are. Finally, the chapter will go more deeply into the consequences of the situated turn for art and design education and will conclude with six practical recommendations regarding art and design pedagogies after the situated turn. These recommendations include: The build-up of expertise on the dynamic relationships that humans hold with environmenta l, social and cultural factors; a focus on how humans are situated through technology; providing familiarity with the reality of practices in other disciplines; advocating creation on the basis of instructions for a process; offering experience with post-studio and post-venue practices; and teaching the appreciation of other human actors in the process of creation and presentation of art and design.

Humans are inseparable from the world around them. Yet remarkably, time and again, human-oriented research and development treats them as isolated from their surroundings. This is particularly true in the domains of art and design, where convention has it that work is produced in studios and experienced in the sterile environs of art and design venues. How can we expect art and design to forge meaningful connections to the world when they consistently treat artists, designers, audiences and users as if they were separate from it?

In this essay, Michel van Dartel shows that the stakes involved in this isolation are higher than they may appear at first glance. As we live in cities developed around data and act within the inscrutable structure of the present-day economy, there exists an unprecedentedly urgent need for artists and designers to help us understand how we relate to our surroundings. Connecting ideas from fields ranging from cognitive science to avant-garde art and design history, Van Dartel argues that we need to consider aesthetics “in the wild” if we are to respond to this exigency.

Apprendre des langues ne fait pas seulement appel aux aspects formels de la pensée, mais relève également de l'imaginaire et des rêves qui nourrissent les cultures. Les langues partagent avec les enseignements artistiques des traits et des objectifs communs, c'est ce que montrent les articles présentés dans cet ouvrage. Le lecteur y trouvera des comptes-rendus de recherche sur des pratiques innovantes, des analyses de partenariats entre des enseignants et des artistes : danseurs, musiciens, comédiens ou plasticiens, ainsi que des apports théoriques sur la question.