Bringing together Carl Leggo's most significant contributions over the past 30 years, this book celebrates his work in curriculum studies, English language arts, literacy and life writing, poetry, and arts education. Organized around three thematic sections-Loving Language, Narrating Ruminations, and Storying the World-the volume highlights his efforts across interrelated fields of inquiry, including narrative and poetic inquiry, contemplative inquiry, and social fiction. The text extends the discussion and conversation of curriculum studies and is greatly enhanced with a selection of original poetry by this incomparable poet, scholar, and teacher. Carl Leggo is renowned not only for his ground-breaking work at the University of British Colombia, but also for his tremendous influence on graduate education across the English-speaking world. This volume honours that immense contribution in today's time of academic change and development.

Living Histories is a collection of new scholarship that explores histories of art education through a series of international contexts. The first truly international text highlighting histories of art education, with contributions from over 30 scholars based in 18 countries. Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. To keep pace with the movements of art and society, Garnet and Sinner consider that art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field. The broad focus of this edited collection is to provide both new perspectives of art education from around the world, and to introduce transnationalism into the field as a way to conceptualize the entanglements of historical research in our globalized age. Transnational histories of art education focus on the linkages and flows that shift focus away from the nation-state to other transnational actors such as individuals, communities, institutions and/or organizations. Contributions from scholars and educators based and working in Australia, Austria, Brazil, Canada, Colombia, Croatia, Czech Republic, Finland, India, Iran, Japan, Malta, South Africa, Spain, Trinidad and Tobago, UK, USA and Zimbabwe. Includes chapters that adapt an approach of 'artwork histories' to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the visual arts and sites of art education. The book offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of 'correct' interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history and teacher education. Living Histories provides an interpretation of historical thinking and consciousness through the interrelations of time and space to provoke critical and creative practices in education. This is the latest book in the Artwork Scholarship series, which aims to invite debate on, and provide an essential resource for transnational scholars engaged in, creative research involving visual, literary and performative arts. With contributors from 18 countries, this book will have a substantial international readership among art educators and those interested in the history of art education, primarily in universities and colleges. It will also be particularly useful for graduate students. It will also appeal to scholars in arts education more broadly - music education, dance education, theatre education scholars, cultural and art historians, art theorists, international educators, and curators.

This anthology explores life writing as a mode of educational inquiry, one where students and teachers may get a "heart of wisdom" as they struggle with the tensions and complexities of learning and teaching in challenging contemporary circumstances. Contributors write first-person creative non-fiction in a variety of life-writing genres, such as memoir, poetry, personal essay, and various blended genres. Four sections entitled Memory Work, Place Work, Curriculum Work, and Social Work explore the struggles and joys of pedagogy where relationships are at the heart of teaching and learning. The essays address questions such as: What critical moments in learning and teaching change lives? What stories need to be told? What questions ache to be asked?

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.

Provoking the Field invites debate on, and provides an essential resource for, transnational arts-based scholars engaged in critical analyses of international visual arts education and its enquiry in doctoral research. Divided into three parts - doctoral processes, doctoral practices and doctoral programmes - the volume interrogates education in both formal and informal learning environments, ranging from schools to post-secondary institutions to community and adult education. This book brings together a global range of authors to examine visual arts PhDs using diverse theoretical perspectives; innovative arts and hybrid methodologies; institutional relationships and scholarly practices; and voices from the field in the form of site-specific cases. A compendium of leading voices in arts education, Provoking the Field provides a diverse range of perspectives on arts enquiry, and a comprehensive study of the state of visual arts PhDs in education.

Ma is a curriculum. The Japanese concept of ma refers to the interval between two markers. Ma is somatically constructed by a deliberate, attentive consciousness to what simultaneously is expressed, repressed, or suppressed between two structures. In a dialectic exploration, the spaces between-private/public, teacher/student, old/new, self/other, among others-are probed in ways that contribute to the significant research in teaching and learning that has been undertaken in the last few decades. Material culture is the study of belief systems, behaviours, and perceptions through artefacts and physical objects and is central to the socialization of human beings into culture. The analysis of cultural materials offers sites for concretizing the self and the self in context. New materiality challenges assumptions and cliches and allows for possibilities not yet imagined, perhaps even inconceivable possibilities. New materiality approaches accept that matter itself has agency. As such, this book investigates the intersections at the core of ma, engagements wherein the investigations create something new, in order to demonstrate the layers of the teaching and learning self. Interpretations of the concept of ma articulate new definitions to improve the conditions, practices, products, and pedagogies of being a teacher/learner in the twenty-first century. Ma is a site for epistemological understandings, threshold learnings, and self and curriculum becomings.

Ma is a curriculum. The Japanese concept of ma refers to the interval between two markers. Ma is somatically constructed by a deliberate, attentive consciousness to what simultaneously is expressed, repressed, or suppressed between two structures. In a dialectic exploration, the spaces between-private/public, teacher/student, old/new, self/other, among others-are probed in ways that contribute to the significant research in teaching and learning that has been undertaken in the last few decades. Material culture is the study of belief systems, behaviours, and perceptions through artefacts and physical objects and is central to the socialization of human beings into culture. The analysis of cultural materials offers sites for concretizing the self and the self in context. New materiality challenges assumptions and cliches and allows for possibilities not yet imagined, perhaps even inconceivable possibilities. New materiality approaches accept that matter itself has agency. As such, this book investigates the intersections at the core of ma, engagements wherein the investigations create something new, in order to demonstrate the layers of the teaching and learning self. Interpretations of the concept of ma articulate new definitions to improve the conditions, practices, products, and pedagogies of being a teacher/learner in the twenty-first century. Ma is a site for epistemological understandings, threshold learnings, and self and curriculum becomings.

This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

"Creating Together" explores an emerging approach to research that combines arts practices and scholarship in participatory, community-based, and collaborative contexts in Canada across multiple disciplines. Looking at a variety of art forms, from photography and mural painting to performance art and poetry, the contributors explore how the process of creating together generates and disseminates collective knowledge.

The artistic processes and works in an arts-based approach to scholarship make use of aesthetic, experiential, embodied, and emotional ways of knowing and creating knowledge in addition to traditional intellectual ways. The anthology also addresses the growing trend in arts-based research that takes a participatory, community-based, or collaborative focus, and encourages scholars to work together, with other professionals, and with community groups to explore questions, create knowledge, and express shared understandings. The collection highlights three forms of research: participatory arts-based research that engages participants in all stages of the inquiry and aims to produce practical knowing to benefit the community; community-based arts research that has community/public space at the heart of practice; and collaborative arts approaches involving multi-levelled, multi-layered, and interdisciplinary collaboration from diverse perspectives.

To illustrate how such innovative work is being accomplished in Canada, the collection includes examples from British Columbia to Newfoundland and across disciplines, including the fine arts, education, the health sciences, and social work.

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.

This edited collection offers global perspectives on the transverse, boundary-blurring possibilities of community arts education. Invoking ‘transversality’ as an overarching theoretical framework and a methodological structure, 55 contributors – community professionals, scholars, artists, educators and activists from sixteen countries – offer studies and practical cases exploring the complexities of community arts education at all levels. Such complexities include challenges created by globalizing phenomena such as the COVID-19 pandemic; ongoing efforts to achieve justice for Indigenous peoples; continuing movement of immigrants and refugees; growing recognition of issues related to equity, diversity and inclusion in the workplace; and the increasing impact of grassroot movements and organizations. Chapters are grouped into four thematic clusters – Connections, Practices, Spaces and Relations – that map these and other intersecting assemblages of transversality. Thinking transversally about community art education not only shifts our understanding of knowledge from a passive construct to an active component of social life but redefines art education as a distinctive practice emerging from the complex relationships that form community.

Bringing together Carl Leggo’s most significant contributions over the past 30 years, this book celebrates his work in curriculum studies, English language arts, literacy and life writing, poetry, and arts education. Organized around three thematic sections—Loving Language, Narrating Ruminations, and Storying the World—the volume highlights his efforts across interrelated fields of inquiry, including narrative and poetic inquiry, contemplative inquiry, and social fiction. The text extends the discussion and conversation of curriculum studies and is greatly enhanced with a selection of original poetry by this incomparable poet, scholar, and teacher. Carl Leggo is renowned not only for his ground-breaking work at the University of British Colombia, but also for his tremendous influence on graduate education across the English-speaking world. This volume honours that immense contribution in today’s time of academic change and development.