Finding Art's Place showcases three artistic/educational experiments located outside of school settings. Nicholas Paley presents the texts, voices and the teaching and learning practices of Tim Rollins + K.O.S. (Kids of Survival); the video work of Sadie Benning, the adolescent filmmaker who has won critical acclaim for her sensitive self-explorations of her lesbian sexuality; and the photographic efforts of Jim Hubbard, who shares his expertise with homeless and urban children in Washington, D.C. Finding Art's Place explores the many ways education occurs in each of these experiments. Allowing the children and young adults, their mentors and their work to speak for themselves about their educational experiences, Paley brings forward multiple standpoints on educational methodologies and materials, identity, literacy, and the configurations of art in the lives of urban youth.

"With its gentle affirmations, inspirational quotes, fill-in-the-blank lists and tasks — write yourself a thank-you letter, describe yourself at 80, for example — The Artist’s Way proposes an egalitarian view of creativity: Everyone’s got it."—The New York Times "Morning Pages have become a household name, a shorthand for unlocking your creative potential"—Vogue Over four million copies sold! Since its first publication, The Artist's Way phenomena has inspired the genius of Elizabeth Gilbert and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron's novel approach guides readers in uncovering problems areas and pressure points that may be restricting their creative flow and offers techniques to free up any areas where they might be stuck, opening up opportunities for self-growth and self-discovery. The program begins with Cameron’s most vital tools for creative recovery – The Morning Pages, a daily writing ritual of three pages of stream-of-conscious, and The Artist Date, a dedicated block of time to nurture your inner artist. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. She also offers guidance on starting a “Creative Cluster” of fellow artists who will support you in your creative endeavors. A revolutionary program for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.

What is distinctive about art and design as a subject in secondary schools? What contribution does it make to the wider curriculum? How can art and design develop the agency of young people? Understanding Art Education examines the theory and practice of helping young people learn in and beyond the secondary classroom. It provides guidance and stimulation for ways of thinking about art and design when preparing to teach and provides a framework within which teachers can locate their own experiences and beliefs. Designed to complement the core textbook Learning to Teach Art and Design in the Secondary School, which offers pragmatic approaches for trainee and newly-qualified teachers, this book suggests ways in which art and design teachers can engage reflexively with their continuing practice. Experts in the field explore: The histories of art and design education and their relationship to wider social and cultural developments Creativity as a foundation for learning Engaging with contemporary practice in partnership with external agencies The role of assessment in evaluating creative and collaborative practices Interdisciplinary approaches to art and design Developing dialogue as a means to address citizenship and global issues in art and design education. Understanding Art Education will be of interest to all students and practising teachers, particularly those studying at M Level, as well as teacher educators, and researchers who wish to reflect on their identity as an artist and teacher, and the ways in which the subject can inform and contribute to education and society more widely.

Storied Lives: Emancipatory Educational Inquiry—Experience, Narrative, & Pedagogy in the International Landscape of Diversity contains exemplary research practices, strategies, and findings gleaned from the contributions to the 15 issues of the Journal of Critical Inquiry Into Curriculum and Instruction (JCI~>CI). Founding Editor Tonya Huber initiated the JCI~>CI in 1997, as a refereed journal committed to publishing educational scholarship and research of professionals in graduate study. The journal was distinguished by its requirement that the scholarship be the result of the first author’s graduate research—according to Cabell’s Directory, the first journal to do so. Equally important, the third issue of each volume targeted wide representation of cultures and world regions. “Current thinking on ...” written by members of the JCI~>CI Editorial Advisory Board explores state-of-the-art topics related to curriculum inquiry. Illustrations, photography (e.g., Sebastião Salgado’s Workers in vol. 2), collage, student-generated art/artifacts, and full-color art enhance cutting-edge methodologies extending educational research through Aboriginal and Native oral traditions, arts-based analysis, found poetry, data poetry, narrative, and case study foci on liberatory pedagogy and social justice action research.

This book focuses on the way academics understand, embrace and enact the concepts of mindfulness in approaching their work in demanding and dynamic contemporary higher education environments. It examines how they implement formal and informal mindfulness practices that increase the capacity to transform mind and body states by drawing on concepts such as compassion, kindness, gratitude, curiosity, self-awareness and non-judgemental stances. The book provides insights into and highlights the struggles of scholars through their experiences and perspectives in relation to their identities, practices and job enactment. Each chapter author explains their mindfulness practices and their motivations for implementing them, and explores how mindful ways of researching, writing, learning and teaching, leading, and engaging with others leads us to self-awareness and engagement in the present.

This is a wonderful collection of conversations from ethnically diverse contributors using the art form of writing to promote inclusion and as an antidote to structural racism. Thanks to these contributing authors whose conversations allow us to understand the experience of people who have a bias against them. This collection of conversations offers some ideas and strategies. What is the next step?

Teaching is not merely a technical process- it is one that requires creative and inspirational thinking, not only on the part of students but for teachers themselves as artful, reflective beings. The purpose of this book is to provide educators with creative experiences which unlock their imaginative potential so they can re-envision their curriculum to promote active learning, culturally relevant pedagogy, and differentiated instruction. This book guides the reader through a series of experiences intended to tap into the right side of the brain, and provide educators opportunities to re-imagine their existing curriculum in new ways. Through this re-imaging (or re-envisioning) of the creative potential within themselves, teachers can redesign their curricula in ways that best meet the needs of their learners, schools, and communities. This book emphasizes creativity in teaching as a collaborative effort. The experiences and ideas presented in this book are intended to inspire small groups or whole communities (including schools) to work together and support each other in their creative efforts. Creativity does not just exist for individuals in isolated contemplation but resides instead in the relational work that community members create together toward a shared vision. In order to encourage imaginative students who will have the capacities to see the world, not merely as it is, but as it could be, we need to encourage teachers to tap into their creative imaginative capacities to teach as well. Such work cannot be performed in isolation. Creative social change requires that we imagine together that which we cannot do alone.