Once the US was the only country in the world to offer a doctorate for studio artists, however the PhD in fine art disappeared after pressures established the MFA as the terminal degree for visual artists. Subsequently, the PhD in fine art emerged in the UK and is now offered by approximately 40 universities. Today the doctorate is offered in most English-speaking nations, much of the EU, and countries such as China and Brazil. Using historical, political, and social frameworks, this book investigates the evolution of the fine art doctorate in the UK, what the concept of a PhD means to practicing artists from the US, and why this degree disappeared in the US when it is so vigorously embraced in the UK and other countries. Data collected through in-depth interviews examine the perspectives of professional artists in the US who teach graduate level fine art. These interviews disclose conflicting attitudes toward this advanced degree and reveal the possibilities and challenges of developing a potential doctorate in studio art in the US.

The Routledge International Handbook of Practice-Based Research presents a cohesive framework with which to conduct practice-based research or to support, manage and supervise practice-based researchers. It has been written with an inclusive approach, with the intention of presenting deep and meaningful knowledge for the benefit of all readers. This handbook has been designed to present specific detail of practice-based research by outlining its shared traits with all forms of research and to highlight its core distinguishing features into a cohesive, principled and methodical approach. To this end, the handbook is presented in five sections: 1. Practice-Based Research, 2. Knowledge, 3. Method, 4. The Practice-Based PhD and 5. Practitioner Voices. Each section begins with a leading chapter that outlines each of the distinct areas as they relate to practice-based research. This is followed by a series of contributing chapters that discuss pertinent themes in more detail. Practitioners from a broad range of backgrounds will find these chapters helpful: research students or final year graduates will be introduced to the principled nature of practice-based research PhD researchers embarking on a research project or are in the flow of research will find this guidance supportive professionals such as designers, makers, engineers, artists and creative technologists wishing to strengthen their research into their practice will be guided through the principled and focused nature of practice-based research supervisors, managers and policy makers will benefit from the potential and rigour of practice-based researchers in the pursuit of new knowledge.

The practices of visual artists can never be decontextualised from language. Firstly, artists are constantly in dialogue with their peers, dealers, critics, and audiences about their creative activities and these interactions impact on the work they produce. Secondly, artists' conceptualisations of what artistic practice encompasses are always shaped by wider social discourses. These discourses, however, and their manifestation in the language of everyday life are subject to continual change, and potentially reshape the way that artists conceptualise their practices. Using a 235,000-word diachronic corpus developed from artists' interviews and statements, this Element investigates shifts in artists' use of language to conceptualise their art practice from 1950 to 2019. It then compares these shifts to see if they align with changes in the wider English lexicon and whether there might be a relationship between everyday language change and the aesthetic and conceptual developments that take place in the art world.

This book presents ground-breaking research on the ways the Arts fosters motivation and engagement in both academic and non-academic domains. It reports on mixed method, international research that investigated how the Arts make a difference in the lives of young people. Drawing on the findings of a longitudinal quantitative study led by the internationally renowned educational psychologist Andrew Martin, the book examines the impact of arts involvement in the academic outcomes of 643 students and reports on the in-depth qualitative research that investigates what constitutes best-practice in learning and teaching in the Arts. The book also examines drama, dance, music, visual arts and film classrooms to construct an understanding of quality pedagogy in these classrooms. With its evidence-based but highly accessible approach, this book will be directly and immediately relevant to those interested in the Arts as a force for change in schooling. How Arts Education Makes a Difference discusses: The Arts Education, Motivation, Engagement and Achievement Research Visual Arts, Drama and Music in Classrooms Technology-mediated Arts Engagement International Perspectives on Arts and Cultural Policies in Education This book is a timely collation of research and experiential findings which support the need to promote arts education in schools worldwide. It will be particularly useful for educationists, researchers in education and arts advocates.

Current educational reforms have given rise to various types of "educational Taylorism," which encourage the creation of efficiency models in pursuit of a unified way to teach. In history education curricula, this has been introduced through scripted textbook-based programs such as Teacher Curriculum Institute’s History Alive! and completely online curricula. They include the jargon of authentic methods, such as primary sources, cooperative learning, differentiated instruction, and access to technology; yet the craft of teaching is removed, and an experience that should be marked by discovery and reflection is replaced with comparatively empty processes. This volume provides systematic models and examples of ways that history teachers can compete with and effectively halt this transformation. The alternatives the authors present are based on collaborative models that address the art of teaching for pre-service and practicing secondary history teachers as well as collegiate history educators. Relying on original research, and a maturing body of secondary literature on historical thinking, this book illuminates how collaboration can create real historical learning.

"This text offers a cohesive framework for exploring social justice through drama and drama from a social justice perspective. Research based examples of practice from a range of international contexts link theory and practice. Connecting chapters raise key critical questions in an engaging dialogue format. An important addition to the literature on social justice education." - Lee Anne Bell, author Storytelling for Social Justice (2010) and co-editor of Teaching for Diversity and Social Justice (Routledge, 2007) Much has been written within the tradition of drama education and applied theatre around the premise that drama can be a force for change within both individual lives and society more broadly. However, little has been published in terms of charting the nature of this relationship. By combining theoretical, historical and practical perspectives, this book unpacks and explores drama’s intrinsically entwined relationship with society more comprehensively and critically. Chapters gather together and develop a range of theoretical understandings of social justice in applied drama in the first part of the book, which are then used to frame and inform more focused discussions of drama research and practice in the second. Contributors move beyond practical understandings of drama for empowerment or development in order to engage with the philosophy of praxis – the interconnected and symbiotic nature of theory derived from practice, and practice derived from theory. Including concrete examples from current research and practice in the field, the book opens up a conversation on and counter-narrative to perceptions of the nature and impact of applied theatre and drama education on social justice. Drama and Social Justice will be key reading for postgraduate students, academics, researchers and field-based practitioners in the areas of applied drama and theatre, education and youth work, and social justice and the social sciences.

This collection of original research explores ways that educators can create participatory spaces that foster civic engagement, critical thinking, and authentic literacy practices for adolescent youth in urban contexts. Casting youth as vital social actors, contributors shed light on the ways in which urban youth develop a clearer sense of agency within the structural forces of racial segregation and economic development that would otherwise marginalize and silence their voices and begin to see familiar spaces with reimagined possibilities for socially just educational practices.

Based on a major research project funded by the European Commission, Populism, Media and Education studies how discriminatory stereotypes are built online with a particular focus on right-wing populism. Globalization and migration have led to a new era of populism and racism in Western countries, rekindling traditional forms of discrimination through innovative means. New media platforms are being seen by populist organizations as a method to promote hate speech and unprecedented forms of proselytism. Race, gender, disability and sexual orientation are all being used to discriminate and young people are the preferred target for populist organizations and movements. This book examines how media education can help to deconstruct such hate speech and promote young people’s full participation in media-saturated societies. Drawing on rich examples from Austria, Belgium, Bulgaria, France, Italy, Slovenia, and the UK - countries characterized by different political and cultural contexts – Populism, Media and Education addresses key questions about the meaning of new populism, the nature of e-engagement, and the role of education and citizenship in the digital century. With its international and interdisciplinary approach, this book is essential reading for academics and students in the areas of education, media studies, sociology, cultural studies, political sciences, discrimination and gender studies.

Classrooms are increasingly multicultural in their social composition, and students are increasingly connected, through digital media, to local and global networks. However, pedagogy has failed to take full advantage of the opportunities these resources represent. Multilingual Digital Storytelling draws attention to the interfaces between learner engagement, creativity and critical digital literacy, as well as addressing the multilingual within the multiliteracies framework. Addressing a significant gap in the field of multiliteracies by focusing on multilingualism, this book explores new digital spaces for language learning and methods of extending understandings of youth literacy in an increasingly interconnected world. Drawing on innovative and multi-site research projects based in mainstream and community schools in London and overseas, this book discusses how young people become engaged creatively and critically with literacy by demonstrating how digital storytelling can be used as a tool for language development. The book begins by considering linguistic, cultural, cognitive and social dimensions of language learning from a theoretical perspective, whilst the second part focuses on practical case studies that reflect and illustrate these theoretical principles. Offering a powerful new perspective on multiliteracies pedagogy, Multilingual Digital Storytelling will appeal to researchers and academics in the fields of education, applied linguistics, sociology and youth and community studies. It will also be an invaluable resource for teachers, teacher educators, curriculum planners and policymakers.

Imagination for Inclusion offers a reconsideration of the ways in which imagination engages and empowers learners across the education spectrum, from primary to adult levels and in all subject areas. Imagination as a natural, expedient, and exciting learning tool should be central to any approach to developing and implementing curriculum, but is increasingly undervalued as learners progress through the education system; this disregards not only imagination’s potential, but its paramount place in informing truly inclusive approaches to teaching and learning. This book presents a new theory of imagination and includes discussion about its application to teaching and learning to increase the engagement of disaffected students and reinvigorate their relationships with curriculum content. Chapters include key ideas and discussion surrounding the benefits of introducing imaginative practices into the classroom for learners from a range of marginalised backgrounds, such as young people with disabilities and adult learners from socio-economically disadvantaged environments. In exploring imagination in the practice of inclusive education, the book includes chapters from researchers and practitioners in education who have fresh ideas about how learners and teachers have benefited from introducing imaginative pedagogies. The diverse collection, featuring writers with backgrounds from early childhood to adult education, will be essential reading for academics and researchers in the fields of education, inclusive education, social policy, professional development, teacher education and creativity. It will be of particular interest to current and pre-service teachers who want to develop inclusive practice and increase the engagement of all students with formal education.