The concept of creative learning extends far beyond Arts-based learning or the development of individual creativity. It covers a range of processes and initiatives throughout the world that share common values, systems and practices aimed at making learning more creative. This applies at individual, classroom, or whole school level, always with the aim of fully realising young people's potential. Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists. Containing a mixture of newly commissioned chapters, reprints and updated versions of previous publications, this book brings together major theorists and current research. Comprising of key readings in creative education, it will stand as a uniquely authoritative text that will appeal to those involved in initial and continuing teacher education, as well as research academics and policy specialists. Sections include: a general introduction to the field of creative learning arts learning traditions, with sub sections on discrete art forms such as drama and visual art accounts of practice from artist-teacher partnerships whole school change and reforms curriculum change assessment evaluative case studies of impact and effect global studies of policy change around creative learning.

Inspire and share with your child the wonderful world of art and encourage their creative abilities! Authors Maja Pitamic and Jill Laidlaw explore the stories and meanings of 20 masterpieces of Western Art as inspiratio n for children to create their own exciting and creative art projects. Covering a diverse range of media - from tissue paper mosaic to charcoal drawing - to encourage and develop your child's creative abilities. The activities are designed for children age d 6 and up, with a range of simple and more challenging activities to suit the abilities of both younger and older children.

The print companion to Kentridge's latest film series, bringing to life the eccentric, whimsical world of the artist's mind and his studio

In his newest film series, Self-Portrait as a Coffee-Pot, South African artist William Kentridge (born 1955) invites us into the whimsical, protean world of his studio (and, by extension, his mind). Kentridge experiments with every aspect of his practice: from painting and printmaking to his collaborative performance Waiting for the Sybil. This experiment in embodiment and phenomenological experience originally created for streaming (and now available on MUBI) has now been reimagined as a printed publication. Kentridge reworks each episode through a selection of film stills and script extracts, this new form reinvigorating the series' investigations into the relationship between mark-making and self-fashioning.

Agreements concerning inter-institutional rules in the treaties of the European Union often give rise to reactions and processes of adaptation within the EU institutions. Recent literature on EU legislative politics has increasingly examined decision-making within the EU institutions, but has largely overlooked how these internal processes react and adapt to changes in relations between the EU bodies. To fill this gap the authors present a series of empirical studies that examine how shifts in inter-institutional rules and procedures affect intra-institutional politics. They show that the resulting intrainstitutional adaptations may in turn both have distributive consequences and affect the efficiency of the initial inter-institutional reforms. In addition, they provide some stepping stones for theory-building on how treaty reforms affect organizational structure and decision-making within the EU institutions by outlining a series of mediating variables that link these two types of change processes.

This book was originally published as a special issue of West European Politics.

The arts in education are currently the subject of considerable controversy. Some people argue that fostering creativity in schools is important; that the arts can provide a substantial contribution to the development of the capacity for creative thought and action; and that therefore the arts should be well represented at all levels of the school curriculum. Some argue that the education system, in fact, leaves pupils incomplete, stultified and uncreative. Others argue that it is the processes of teaching and learning in the arts which are at fault because they are too passive. This book surveys the different sides of the debate and goes on to report on original research which examines just how the arts are taught in schools. It thereby makes a considerable contribution to the debate which has hitherto been incomplete due to a lack of evidence.

Do the arts improve academic achievement? What does it mean to teach art? What should the balance of classic and pop be in the music curriculum? Should we encourage young children on the stage? How do we judge whether what a child produces is good? How do we justify the arts in the curriculum? What should be the balance between form and content when teaching art?

The arts in education inspire considerable commitment and passion. However, this is not always matched by clarity of understanding. In this book Mike Fleming introduces the reader to key theoretical questions associated with arts education and clearly explains how these are related to practice. It offers an authoritative account of how ideas relevant to education are addressed by key authors in aesthetics, art theory and cultural studies. Covering all aspects of arts education, the book considers:

• definitions and theories of art
• influences on teaching the arts
• researching the arts
• teaching and learning
• creativity
• assessment.

Throughout the book there are examples of practice to illustrate key ideas and a discussion of useful background texts with a summary of content and arguments for further exploration. Written by a leading authority in the field, it is essential reading for students on Arts PGCE and M Level courses, teachers of the arts and policy developers that require more understanding and insight into their practice.

Just hours before the opening of its 10th anniversary exhibition, disaster strikes the City Gallery - Molly Adams, the curator, arrives for work to find that her computer and valuable files have been stolen. The 32 paintings in the exhibition are safe, but the accompanying information panels are missing too! With no obvious way of identifying which of the 16 artists made each painting,and time running out to remake the information panels, the exhibition opening threatens to be a catastrophe. To make matters worse, Molly discovers that one of the artists has ben bribed by a rival curator to submit a painting that will ruin the reputation of the City Gallery if it is exhibited. At a loss, Molly appeals to the reader for help Using the split-page format, the reader must work through the exhibition, room by room, painting by painting. Each work in the anniversary exhibition contains details taken from two, three, four or five pictures in the gallery's permanent collection of modern art masterpieces. The details could be anything - a dog's head, a totem pole or a staring eye, for example. By carefully comparing each painting in the exhibition with photographs of the works in the perman

New York Puerto Ricans have been an integral part of hip hop culture since the very beginning: from 1970s pioneers like Rock Steady Crew's Jo-Jo, to recent rap mega-stars Big Punisher and Angie Martinez. Yet, Puerto Rican participation and contributions to hip hop is frequently downplayed, if not completely ignored. When their presence has been acknowledged, it is usually misinterpreted as a defection from Puerto Rican culture and identity into the African American camp. But, Rivera argues, nothing could be further from the truth. Through hip hop, Puerto Ricans have simply stretched the boundaries of Puerto Ricanness and latinidad.

This book offers a comprehensive and critical guide to research and practice in the field of arts education and conflict management. The DRACON project explores the relationship between drama and conflict transformation. This international, interdisciplinary and comparative action research project, begun in 1996, is aimed at improving conflict management and transformation among adolescent school students using the medium of educational drama. The book reports on the underpinning principles, and on action research practice in Malaysia, Sweden and Australia. The strategies and techniques, which were revolutionary when first introduced, are now tried and tested. The book chronicles the history, successes, opportunities and challenges of the original 10-year project, and brings the story up to date by highlighting some of its many legacies and resulting influences around the world. This book will benefit researchers, academics and graduate students in Education, the Social Sciences, Dispute Resolution and the Performing Arts.

After all, who has the right to cast a stone against one who has suffered? Cannot repentance wipe out an act of folly? Why should there be one law for me and another for women? Wilde's 'trivial play for serious people', a sparkling comedy of manners, is the epitome of wit and style. This brilliantly constructed satire with its celebrated characters and much-quoted dialogue turns accepted ideas inside out and is generally regarded as Wilde's masterpiece. This Methuen Drama Student Edition of the play includes commentary and notes by Lucie Sutherland, Assistant Professor in Drama at the University of Nottingham, UK, which investigate the play through a contemporary lens, bringing in the contributions from queer scholarship and discussions of recent productions of the play.

"The text is extraordinarily succinct, very well organised and highly readable. Each chapter examines in depth specific aspects of teaching and learning in drama and well-chosen practical examples can readily be adopted by teachers. A 'must' for all primary schools." Drama (the Journal of National Drama) Review of 'Drama in Primary English teaching' Teaching Primary English through Drama builds on the success of the classic text Drama in Primary English, inspiring ideas and techniques for teaching English skills through the medium of drama. Focusing on the power of drama to promote effective learning in primary education, Suzi Clipson-Boyles demonstrates how reading, writing, speaking and listening skills may be developed in ways that will motivate and engage pupils. She uses specific examples from the English curriculum, and also makes links to other areas of the curriculum. In addition, the book explains how assessment during drama can help teachers to evaluate pupils' progress in English. Further guidance is given on how drama can enrich studying for pupils who are learning English as a foreign language. The book also provides a chapter on developing drama as an art form in its own right, with simple ideas and practical suggestions on how to enhance performances. Teaching Primary English through Drama presents a wide range of drama approaches from ten-minute starter activities to stimulate ideas such as fun ways to practise reading, through to longer projects that can provide contexts for extended writing or help with presentation and performance. The chapters show how drama can help to bring lessons alive in imaginative ways that not only promote enjoyment but also enhance achievement. This comprehensive and practical guide offers essential reading for primary teachers and other practitioners, and is a valuable resource to trainees. It also provides an excellent foundation for those who wish to extend their expertise further towards drama as a subject specialism.

The concept of creative learning extends far beyond Arts-based learning or the development of individual creativity. It covers a range of processes and initiatives throughout the world that share common values, systems and practices aimed at making learning more creative. This applies at individual, classroom, or whole school level, always with the aim of fully realising young people's potential. Until now there has been no single text bringing together the significant literature that explores the dimensions of creative learning, despite the work of artists in schools and the development of a cadre of creative teaching and learning specialists. Containing a mixture of newly commissioned chapters, reprints and updated versions of previous publications, this book brings together major theorists and current research. Comprising of key readings in creative education, it will stand as a uniquely authoritative text that will appeal to those involved in initial and continuing teacher education, as well as research academics and policy specialists. Sections include: a general introduction to the field of creative learning arts learning traditions, with sub sections on discrete art forms such as drama and visual art accounts of practice from artist-teacher partnerships whole school change and reforms curriculum change assessment evaluative case studies of impact and effect global studies of policy change around creative learning.

Drama is increasingly being recognised as a valuable pedagogy for language learning as it can harness childrens imaginations and stimulate their desire to communicate. Second Learning Language through Drama draws on current theories of additional and foreign language learning and illustrates through practical case studies how drama can be used to support the four key skills of listening, speaking, reading and writing. Drawing on the work of an international group of practitioners who are all highly experienced in using drama for the purpose of second language learning, the book clearly explains key drama conventions and strategies and outlines the innovative ways they have been used to create enjoyable and stimulating classroom activities that allow for multiple ways of learning. Throughout the book the emphasis is on making language learning accessible and relevant to children and young people through creative, physically active and playful approaches. The strategies described are all highly flexible and readily adaptable to different teaching contexts. Specific themes include: * Using stories and drama to motivate learners at all levels * Drama, language learning and identity * Assessment opportunities through process drama * Issues of language learning and cultural empowerment * Digital storytelling * Film & drama aesthetics Second Language Learning through Drama will be of great interest to those studying on undergraduate and postgraduate courses and will serve as a highly valuable text to practitioners looking to incorporate the approaches described into their lessons and classroom activities.

This book presents a comprehensive view of children's musical artistry and how to develop it in both the music classroom and children's chorus. Presenting the musical mind as the gateway to children's artistry, and addressing the power of movement in its embodiment and advancement, author Mary Ellen Pinzino shows how song-rhythm, melody, and text, independently and together-influence children's developing artistry musically, expressively, and vocally at every level. Accordingly, she also offers a multitude of specific songs that inspire children's artistry, all in various tonalities and meters and on a continuum of increasing difficulty. Keeping the need for practical application in mind, Pinzino offers materials for implementation with children from kindergarten through seventh grade, as well as guidance for professional development. Content can be applied alongside any pedagogical methodology, as well as with older singers in the process of developing their own artistry. In short, this book makes the intangibles of children's artistry more tangible. It enables music teachers and choral conductors to draw artistry out of every child and draw every child into the choral art. It summons music teachers and choral conductors to bring artistry to the forefront of every music class and choral rehearsal-and to the forefront of the field of music education as a whole.

Firmly based on the authors personal experience, this book tackles a wide range of issues relating to the teaching of the arts in the primary school. The authors illustrate how primary children of all ages can be educated to both know about and to practice all the major art forms, and how a school staff can effectively accommodate and practice them all, even within the constraints of the National Curriculum. This book is unique in primary school education terms, as its primary focus is specific and it embraces every major art form dance, drama, literature, music, visual arts and film.

This book explores historical and philosophical connections between music, leisure, and education. Specifically, it considers how music learning, teaching, and participation can be reconceptualized in terms of leisure. Taking as its starting point "the art of living" and the ethical question of how one should live, the book engages a wide range of scholarship to problematize the place of non-professional music-making in historical and contemporary (Western) conceptions of the good life and the common good. Part I provides a general background on music education, school music, the work ethic, leisure studies, recreation, play, and conduct. Part II focuses on two significant currents of thought and activity during the Progressive Era in the United States, the settlement movement and the recreation movement. The examination demonstrates how societal concerns over conduct (the "threat of leisure") and differing views on the purpose of music learning and teaching led to a fracturing between those espousing generalist and specialist positions. The four chapters of Part III take readers through considerations of happiness (eudaimonia) and the good life, issues of work-life balance and the play spirit, leisure satisfaction in relation to consumerism, individualism, and the common good, and finally, parenting logics in relation to extracurriculars, music learning, and serious leisure.

Build you own timeline of all of Shakespeare's plays with this amazing sticker book that brings his thirty-eight dramas to life! Created in association with The Shakespeare Birthplace Trust and set in London's iconic Globe Theatre, this totally unique, amazing timeline sticker book has 100 peel-off stickers of the colorful characters from Shakespeare's life and times. Beautifully-illustrated and hugely engaging, the 5.5-foot long timeline has captioned, white silhouettes showing where to place your stickers to help you build your own Shakespearean drama. Perfect for children 3 - 7 years old.

The national dancers of Uzbekistan are almost always female. In a society that has been Muslim for nearly seven hundred years, why and how did unveiled female dancers become a beloved national icon during the Soviet period? Also, why has their popularity continued after the Uzbek republic became independent? The author argues that dancers, as symbolic girls or unmarried females in the Uzbek kinship system, are effective mediators between extended kin groups, and the Uzbek nation-state. The female dancing body became a tabula rasa upon which the state inscribed, and reinscribed, constructions of Uzbek nationalism.

Doi describes the politics of gender in households as well as the dominant kinship idioms in Uzbek society. She traces the rise of national dance as a profession for women during the Soviet period, prior to which women wore veils and kept purdah. The final chapter examines emerging notions of Uzbek, as regional and national groups contest the notion through debates about what constitutes authentic Uzbek dance. Doi concludes with a comparative discussion of the power of marginality, which enabled Uzbeks to maintain a domain where Uzbek culture and history could be honored, within the Russocentric hegemony of the Soviet state.