This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.

Broad in scope, Out of Place: Artists, Pedagogy, and Purpose presents an overview of the different paths taken by artists and artist collectives as they navigate their way from formative experiences into pedagogy. Focusing on the realms in- and outside the academy (the places and persons involved in post-secondary education) and the multiple forms and functions of pedagogy (practices of learning and instruction), the contributions in this volume engage individual and collective artistic practices as they adapt to meet the factors and historical conditions of the people and communities they serve through solidarity, equity, and creativity. With this critically, historicist approach in mind, the contributions in Out of Place historicize, study, critique, revise, reframe, and question the academy, its operations and exclusions. The extensive range of contributions, emphasizing community-oriented projects both inside and outside the United States, is grouped into three overarching categories: artists who work in academic institutions but whose social and pedagogical engagement extends beyond the walls of the academy; artists who engage in pedagogical initiatives or forms of institutional critique that were established outside of an art school or university setting; and artist-scholars who are doing transformative and inter/transdisciplinary work within their respective institutions. Collectives and projects represented in Out of Place comprise Art Practical, Axis Lab, BFAMFAPhD, Beta-Local, Black Lunch Table Project, The Black School, The Center for Undisciplined Research, Devening Projects, ds4si, Elsewhere, Ghana ThinkTank, Gudskul, The Icebox Project Space, Las Hermanas Iglesias, The Laundromat Project, Occupy Museums, Peebls, PlantBot Genetics, Queer Conversations on Culture and the Arts, Related Tactics, Side by Side, 'sindikit, Sustainable Native Communities Collaborative, and Tiger Strikes Asteriod.

Art as Unlearning makes an argument for art’s unlearning as a mannerist pedagogy. Art’s pedagogy facilitates a form of forgetfulness by extending what happens in the practice of the arts in their visual, auditory and performative forms. The concept of learning has become predominantly hijacked by foundational paradigms such as developmental narratives whose positivistic approach has limited the field of education to a narrow practice within the social sciences. This book moves away from these strictures by showing how the arts confirm that unlearning is not contingent on learning, but rather anticipates and avoids it. This book cites the experience and work of artists who, by unlearning the canon, have opened a diversity of possibilities by which we make and live the world. Moving beyond clichés of art’s teachability and what we have to learn through the arts, it advances a scenario where unlearning is uniquely presented to us by the diverse practices that we identify with the arts. The very notion of art as unlearning stems from and represents a fundamental critique of the constructivist pedagogies that have dominated arts education for over half a century. This book will be of great interest to academics, researchers and postgraduate students in the fields of education, philosophy of education, history of education, pedagogy of art and art education. It will also appeal to educators, art educators, and artists interested in the pedagogy of art.

In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ‘border art’. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity. The book features: Detailed exercises for using Pocha Nostra methods in workshops Inspirational approaches for anyone creating, producing or teaching radical performance A step-by-step guide for large-scale group performance New, unpublished photos of the Pocha Nostra method in practice Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.

"'Arts integration in education' is an insightful, even inspiring investigation into the enormous possibilities for change that are offered by the application of arts integration in education. Presenting research from a range of settings, from preschool to university, and featuring contributions from scholars and theorists, educational psychologists, teachers, and teaching artists, the book offers a comprehensive exploration and varying perspectives on theory, impact, and practices for arts-based training and arts-integrated instruction across the curriculum."--Page 4 of cover.

Arts educators have adopted social justice themes as part of a larger vision of transforming society. Social justice arts education confronts oppression and inequality arising from factors related to race, ethnicity, nationality, religion, class, ability, gender, and sexuality. This edition of Common Threads investigates the intersection of social justice work with education in the visual arts, music, theatre, dance, and literature. Weaving together resources from a range of University of Illinois Press journals, the editors offer articles on the scholarly inquiry, theory, and practice of social justice arts education. Selections from the past three decades reflect the synergy of the diverse scholars, educators, and artists actively engaged in such projects. Together, the contributors bring awareness to the importance of critically reflective and inclusive pedagogy in arts educational contexts. They also provide pedagogical theory and practical tools for building a social justice orientation through the arts. Contributors: Joni Boyd Acuff, Seema Bahl, Elizabeth Delacruz, Elizabeth Garber, Elizabeth Gould, Kirstin Hotelling, Tuulikki Laes, Monica Prendergast, Elizabeth Saccá, Alexandra Schulteis, Amritjit Singh, and Stephanie Springgay

Beverly Naidus shares her passion and strategies for teaching socially engaged art, offering, as well, a short history of the field and the candid views of more than thirty colleagues. A provocative, personal look at the motivations and challenges of teaching socially engaged arts, Arts for Change overturns conventional arts pedagogy with an activist's passion for creating art that matters. How can polarized groups work together to solve social and environmental problems? How can art be used to raise consciousness? Using candid examination of her own university teaching career as well as broader social and historical perspectives, Beverly Naidus answers these questions, guiding the reader through a progression of steps to help students observe the world around them and craft artistic responses to what they see. Interviews with over 30 arts education colleagues provide additional strategies for successfully engaging students in what, to them, is most meaningful.