Robyn Gibson

The ‘art’ of creative teaching: implications for higher education

Richard Floridas The rise of the creative class (2002) delivered a strong wake-up call to higher education institutions worldwide. By linking creativity to technological innovation and economic prosperity, Florida argued that universities and colleges should nurture creativity in their students. But for many years, the higher education enterprise has been criticised for dampening creativity rather than fostering it. This paper explores the subversive nature of creativity, the value of creative teaching and proposes a number of strategies higher education should consider if they hope to graduate the future leaders of twenty-first century society.

Touching the void: arts education research in Australia

This article is an overview of arts education research in Australia. The authors argue that there is an urgent need for key arts organisations to form strategic partnerships with arts educators to provide stronger research in the area of arts education. This research base would enhance the ability of policymakers, arts administrators and arts educators to argue for a stronger presence for arts education in schools. Many arts educators and researchers believe that engagement with the arts has value beyond the specific arts subjects themselves. International studies have indicated that important cognitive and social processes and capabilities are developed in arts-enriched experiences, which can be particularly significant for students who are at risk, disengaged and/or underachieving. While this realisation has stimulated action in other countries such as China, Singapore and Japan, arts education researchers in Australia currently make do with small-scale and often ad hoc research in an attempt to argue their case. The conclusions and recommendations of this article call for a series of strategic partnerships to touch or even fill the current void in arts education research in Australia.

Learning to be an Art Educator: Student Teachers’ Attitudes to Art and Art Education

Visual Art educators are keenly aware of the significant contribution art can make to the growth and development of young children as it provides unique opportunities for personal expression and creativity. However, while it is acknowledged that art contributes to the development of the whole child, the link between thought and practice is often tenuous. Hence the question needs to be asked, what do student teachers really think about art and art education. This longitudinal study aimed at an exploration of student teachers prior experiences, existing knowledge, beliefs, attitudes, perceptions and interest in the visual arts. One hundred and ten B.Ed. (Primary) students enrolled in two compulsory Visual Arts Education units of study were surveyed in March 1999 and then in October 2001 to ascertain how they interpreted the term visual arts; how this related to visual arts education (if, in fact it did); where they would position visual arts amongst the other five key learning areas of the primary curriculum; and ultimately how they felt about the prospect of teaching visual arts in a primary school context. The findings of the research revealed a number of significant differences between the initial data (March 1999) and the final data (October 2001).

Cultivating imaginative thinking: teacher strategies used in high-performing arts education classrooms

This article reports on recent case-study research that examined teacher- and student-level processes in nine Australian arts classrooms. The selected classrooms, based on the results of a connected longitudinal study, demonstrated strong positive links between arts participation and academic motivation, engagement and achievement. The focus here is on how teachers supported their students to conceive, shape and present imaginative work. Although different approaches were apparent in the dance, drama, film, music and visual arts classrooms, patterns were detected in the processes used to transform imaginative ideas into a creative work. The research indicated that important skills were being developed as the students encountered the ambiguity of the creative process. Furthermore, insights were gained into how work drawing on the imagination can be initiated and sustained through the highs and lows of development to become both a work of art and a learning experience that will augment future creative work.

DALI'S 'FALSE MEMORIES' OF FASHION

Throughout his often scandalous life, Salvador Dali was continually drawn to fashion. “It was a world as equally rooted in fantasy and disdainful of the role of reason as his own art” (Radford, 1997, p. 170). However the artist was a master of concealment especially when he appeared to reveal all.

Into My Mother’s Wardrobe

My Mother died quite unexpectedly. She had a fall doing something that someone her age shouldn’t have been doing. But that was my Mum – never one for doing the expected. That said, I should have been thankful? She didn’t suffer a long, debilitating illness.

A History of Men’s Suits

I recently took my 20 year old son, Beau ‘suit-shopping.’ We had purchased a non-descript suit for his Year 11 formal in 2009. It had fulfilled a purpose and was never worn again. With his teenage years behind him, he wanted a ‘proper suit.’ His only requirement being charcoal grey; mine being one that didn’t cost the earth.

To the Dedicated Follower of Fashion

H’adore, Vivienne I really want Pucci, Fendi, and Cardin, Valentino, Armani too Madame love them Jimmy Choo. But there’s a lipstick stain on my nice dress The fabric’s scarred and I’m distressed. Fashion put it all on me Don’t you want to see these clothes on me?

The school drama program: delivering process drama via a teaching artist

Abstract For more than four decades, process drama has been acknowledged as critical, quality pedagogy especially in improving English and literacy outcomes. However many primary teachers do not use drama for any substantive activity within their classrooms. The School Drama Project (SDP), a program developed in 2009 through a partnership between the Sydney Theatre Company (STC) and the Faculty of Education and Social Work (FESW), University of Sydney, was established in response to these concerns. The program is dependent on a partnership not just between STC and the FESW but also between an educator and a teaching artist working towards student academic achievement in this instance, English and literacy outcomes. It also seeks to develop primary teacher’s professional knowledge of and expertise in the use of process drama with the literature. This article reports on the pre- and post-findings of the 2012 SDP involving 39 teachers, more than 960 students from Early Stage 1 (5 year olds) to Stage 3 (11–12 year olds) across 23 Sydney/New South Wales schools.