Conference Agenda
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29 SES 05 A: Looking for advances in arts education (II)
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29. Research on Arts Education
Paper “Getting it” Together: Reflecting on Art Education Practice as Collaborative Conversations and ‘Comfort-able’ Learning. 1: University of the West of Scotland, United Kingdom; 2: University of Lapland, Finland; 3: Umeå University, Sweden Presenting Author:This presentation speaks to a developing appreciation of the necessary and optional pooling of our resources and energies in regard of pedagogical possibility and enrichment in a distinctly ‘northern Europe’, indeed ‘Arctic and ‘near Arctic’ arts educator context. Our conversation invites reflection on ‘nurture’ in a higher education arts pedagogy context as processes of reflexive, embodied and material collaboration seeking to examine ability to find and reassure comfort. We offer this account as learners and educators – being together yet apart - with reference to our recent international exchange working within the UArctic ASAD network. ‘Getting it’ – a sense of ‘knowing’ as coming together in support and unity around ‘good learning’ process across different regional contexts - is positioned here as a focus for reflection, and gratitude, but also a comment on art educator consciousness, agency and negotiation. What is understood as of value, and how to more actively ‘find comfort’ in learning together is examined. Informed not least by what it is to care, to comfort and to flourish (Wood and Millett, 2026; Finley, 2017; Rabinow and Bennett, 2010). Using Finnish, Swedish and Scottish experience, research and debate, we explore how is such nurturing understood as welcome, ‘other’ and appropriate between arts educators today? Barone and Eisner (2012:6) claim that any virtues to be found in arts based research are “not located in some isomorphic relationship between a statement and an event” but rather – and in this we too celebrate conversational form -“to be found in the degree to which, as Geertz says, it makes our conversation more interesting." Nevertheless, what frames interesting, how do we ‘know’ thick description in our intercultural education communities asks us to attend, be closer, and find togetherness ‘often’ in both failed and successful attempts of repeated ‘returning’ (Kartsaki, 2016). Methodology, Methods, Research Instruments or Sources Used With examples drawn from our distinctive Finnish, Swedish and Scottish centred pedagogy traditions, our methods include field site interventions, archive resourcing, creative arts led practice and sharing dialogues and approaches to better appreciating different local and regional higher education ‘learner’ environments. Our ‘place-situated’ task working as dwelling and doing in and between nature and other spheres, offers opportunity to explore and engage each other in learning together as nurture through collaborative togetherness, making and doing (Lundstedt et al., 2023). Consciously we have situated methods of ‘finding comfort’ in learning through creative materiality, artworks and embodied critiques. Attending to poly crisis ‘attacks’, denigrations, and demands we respectfully acknowledge widespread affective ‘dis-comfort’ in research learning contexts including tensions and constraints of intercultural and interdisciplinary arts education practice. We nonetheless undertake to share our senses of ordinary and extraordinary making and doing process of ‘comfort-able’ as a valuable pedagogical nurturing of environment, resources and self. Conclusions, Expected Outcomes or Findings We share examples as moments, ‘situated appreciations’ of what is gained and ‘yet hidden’ and unspoken in higher education learner contexts with our particular focus on being an educator as learner, comfort and well-being informed pedagogical process, material tangible creative undertaking and investigation. We offer documenting and questions that speak to how we as educators learn through collaborative ‘comfort’ in sharing narrative, artworks, visual and other critique. Each contribute to our applied learning appreciations of (for example) both dwelling and being in relation to a wider conceptual appreciation of in-situ nature, landscape and ‘porous’, contested place (Jess and Massey, 1995) educator working. Our presentation, acts as an invitation into our conversation and to stimulate other connection. It reflects how might a pedagogy of nurture – specifically here ‘learning as comfort-able’ - be usefully developed for applied educational context and inter-disciplinary arts education methods working in the European circumpolar north, near Arctic, and beyond. References Barone, T. and Eisner, E. (2012). Arts Based Research. Thousand Oaks, CA: Sage. Finley, S. (2017). Critical Arts-Based Inquiry: Performances of Resistance Politics in Denzin, N.K., and Lincoln, Y.S. (Eds.), The Sage Handbook of Qualitative Research. Fifth Edition. Los Angeles: Sage. Jess, P. and Massey, D. (1995). ‘The Contestation of Place’, in D. Massey and P. Jess. A Place in the World? (pp. 134–74). Oxford: Oxford University Press. Kartsaki, E. (Ed.). (2016). On Repetition: Writing, Performance and Art. Bristol and Chicago: Intellect. Lundstedt, L., Burnett, K. A., & Härkönen, E. (2023). Introduction. In E. Härkönen, L. Lundstedt, K. Burnett, M. Gårdvik, & R. Permar (Eds.), Nurture: Living in the Landscape Summer School and Exhibition (pp. 6-8). University of Lapland. Rabinow, P., and Bennett, G. (2010). From bioethics to human practices or assembling contemporary equipment. In B. da Costa and K. Philip (Eds.), Tactical biopolitics: Art, activism, and technoscience (pp. 389–400). Cambridge: Massachusetts Institute of Technology Press. Wood, C. and Millett, T. (2026). Critically Assessing Arts-Based Research: Moving Forward With Tension and Care. Int J Art Des Educ. https://doi.org/10.1111/jade.70001 29. Research on Arts Education
Paper (an)Other Spaces of Learning - Invisibility and Non-Normalized Practices in Art Education FBAUP - Faculdade de Belas Artes da Universidade do Porto, Portugal | i2ADS Presenting Author:The OCUP_EA collective, integrated into the Institute for Research in Art, Design and Society (i2ADS), on the Faculty of Fine Arts of the University of Porto (FBAUP) was created in response to the need to identify, within schools, alternative spaces for learning. It assumes the organization of a critical programme of action addressing educational systems that are frequently structured around regulatory, hierarchical, and standardized logics of knowledge. The collective departs from a problematization of the forms in which learning is produced, legitimized, and recorded in educational contexts, interrogating the dispositifs that determine what is recognized as validated knowledge and, consequently, what remains invisible, marginal, or excluded from educational archives. Within this framework, OCUP_EA positions itself in opposition to a conception of learning understood as a measurable, predictable, and predefined outcome. Instead, it proposes an approach that values students’ learning as an emergent, democratic, situated, and relational process, constructed through experience, mutual affectation between subjects, materials, and contexts, and openness to the unforeseen. Artistic Education is here understood, within the field of research, as a space of possibility for the emergence of other epistemologies of learning, capable of accommodating sensitive, embodied, affective, and collective forms of knowledge. The work developed within OCUP_EA is structured through a rhizomatic, non-linear, and non-hierarchical logic, in which educational and investigative practices expand through connections, crossings, and contaminations between different subjects, contexts, and modes of making. This methodology is not merely an organizational metaphor but constitutes a political positioning that rejects the centrality of a single method, a predefined trajectory, or a fixed object of research. Research is thus assumed as a process in becoming, transformed through its relationship with the subjects and contexts in which it unfolds. The proposed presentation aims, through a sampling of actions already carried out, to problematize the field of possibilities that can be experienced within schools as ways of fostering knowledge and sensibility among students. The action project seeks to create conditions in which education may emerge from the subjects themselves, understood as social agents, nurturing individual processes of self-construction. Established in 2021, OCUP_EA has carried out a set of educational actions in different schools, across various levels of learning and in collaboration with local communities. These actions contribute to the formulation of a positive discourse on educational outcomes, grounded in the continuous and relational engagement established with the school communities involved. Throughout this trajectory, by privileging open-ended processes, OCUP_EA distances itself from research logics oriented toward hypothesis confirmation or the production of closed results, instead valuing the capacity to generate questions, displace certainties, and produce alternative readings of education. Learning is thus understood as something that occurs between subjects, between institutional and non-institutional spaces, between school and context, manifesting itself in multiple, discontinuous, and often unpredictable ways. The presentation aims not only to express satisfaction with what has been achieved, but also to encourage discussion about the programme's shortcomings and incompleteness, stimulating debate about what its future might hold.
Methodology, Methods, Research Instruments or Sources Used The practices developed by the collective adopt a methodology that privileges action as a driver of research and the involvement of subjects as active participants in the investigative process. Educational activities are organized in workshops, artistic actions, and research-creation processes, not conceived as applications of pedagogical models but as dispositifs of experimentation and learning. These procedures operate simultaneously as educational spaces and as research spaces, where knowledge is not collected as data but produced through relationships, shared experience, and attentiveness to deviations, ruptures, and singularities that emerge throughout the process. The methodology used to present the project includes the audiovisual sampling of actions carried out in the referenced school contexts, the discussion of the issues implicated in and addressed by OCUP_EA, and the proposal of possible forms of interaction. Conclusions, Expected Outcomes or Findings OCUP_EA presents itself as a research collective that embraces experience as a non-standardized educational space and uncertainty as a productive condition for learning and research processes. Operating from a rhizomatic logic, the group affirms relationships, the unexpected and emergence as contributions to the construction of other ways of thinking about the learning process, knowledge and research in education itself. The liquidity of the results generated by educational processes can only be understood through the lens of the inherent fallibility involved in pursuing the aspirations that projects such as OCUP_EA seek to achieve. The debate that collective aims to provoke acknowledges its own inconclusiveness, while seeks to expand a critical perception of the possibilities for establishing alternative forms of learning in the face of structured and limiting educational systems. The conclusion of OCUP_EA emphasizes the need for continuous, open-ended resistance and experimental resilience in Art Education, particularly in relation to routinized and naturalized practices that contribute little to the development of sensitive subjects and socially engaged actors. References Atkinson, D. (2011). Art, equality and learning: Pedagogies against the state. Sense Publishers. Baldacchino, J. (2012). Art’s way out: Exit pedagogy and the cultural condition. Sense Publishers. Burke, C. (2007, September). The View of the child: Releasing ‘‘visual voices’’ in the design of learning environments. Discourse: studies in the cultural politics of education, Vol. 28, No. 3, pp. 359-372. UK: University of Leeds. Burke, C. & Grosvenor, I. (2015). The School i’d like: Revisited children and young people’s reflections on an education for the future (2ª ed.). London and New York: Routledge. Corazza, S. M. (2001). O que quer um currículo? Pesquisas pós-críticas em educação. Vozes. Correia, J. A. (2024). Deambulações sobre educação: Escola, professores e ensino superior. CIIE – Centro de Investigação e Intervenção Educativas, Faculdade de Psicologia e de Ciências da Educação da Universidade do Porto. Couto, Liliana A. (2020). A Escola- Espaços Exteriores, Espaços educadores. Consequências das Relações Simbólicas dos Alunos com a Arquitectura dos Sentidos. [The School – Outdoor Spaces, Educational Spaces. Consequences of Students' Symbolic Relations with the Architecture of Senses]. Tese de Doutoramento - Universidade do Porto em associação à Universidade de Lisboa: Faculdade de Belas Artes e Faculdade de Psicologia e de Ciências da Educação (14 Dez. 2020). https://hdl.handle.net/10216/131171 Dewey, J. (2005). El arte como experiencia (J. M. Esteban Cloquell, Trad.). Paidós. (Obra original publicada em 1934) Hernández, F. (2000). Cultura visual, mudança educativa e projeto de trabalho. Artmed. Hernández, F. (Coord.) (2011). Investigar con los jóvenes: Cuestiones temáticas, metodológicas, éticas y educativas (pp.7-23 e 104-114). Universitat de Barcelona: ESBRINA – RECERCA. La Rocca, J. (2008). Notas sobre a experiência. Relógio D’Água. Lima, Lígia de O. (2018). SOBRE O QUE NÃO (ME) DIZ A EDUCAÇÃO - práticas educativas (e) artísticas contemporâneas enquanto territórios de ação cultural, social e política. Tese de Doutoramento - Universidade do Porto em associação à Universidade de Lisboa: Faculdade de Belas Artes e Faculdade de Psicologia e de Ciências da Educação. https://repositorio-aberto.up.pt/handle/10216/118532 Perniola, M. (2011). El arte expandido. Casimiro Libros. Ramos do Ó, Jorge (2007). Desafios à escola contemporânea: Um Diálogo. Educação & Realidade, 32(2), pp. 109-116. (Entrevista promovida pelo grupo de pesquisa sobre Cultura e Educação). 29. Research on Arts Education
Paper Between Chance and Possibility: A Pedagogical Model for Creative Learning in Visual Arts Education Faculty of Fine Arts of the University of Porto, Portugal Presenting Author:Within the scope of the research project in art education, “The (Un)predictable in Visual Arts Education: A Combination of Planned and Unplanned Actions”, one of whose objectives is to explore experiences of emancipatory educational practices in visual arts education, we propose, for ECER, the presentation of the results of fieldwork currently being carried out with students and teachers of visual arts education across different areas such as painting, sculpture, design, photography, architecture, among others. Existing standardised educational models, oriented towards outcomes, competencies, and predictability, tend to be restrictive for both students and teachers. For students, these models often translate into the assessment of their skills. For teachers, they imply limitations on pedagogical action in response to closed and prescriptive curricula. Faced with this scenario, it becomes urgent to rethink visual arts education through practices that introduce disruptions, suspensions, and forms of pedagogical transgression in relation to dominant educational logics. In this sense, this proposal emerges from the need to create moments of pedagogical interruption, understood not as rupture, but as a possibility to temporarily suspend habitual ways of teaching, learning, and assessing. These moments of pedagogical interruption make it possible to open up space for speculation, activating educational processes that combine curricular planning with actions deliberately left open, aligning with process-oriented and experiential understandings of learning in the arts (Dewey, 1934; Eisner, 2002). The aim is to create spatial, embodied, and affective conditions in which visual arts education can embrace the unexpected, chance, and uncertainty as constitutive elements of learning processes. Speculation thus emerges as a pedagogical and artistic mode of operation that develops within these intervals of suspension, where learning outcomes are not predetermined. Within this framework, learning involves engaging with the unknown and with what is still emerging, recognising the creative project as a field of ongoing construction, traversed by deviations, negotiations, and continuous reconfigurations. This approach moves away from a transmission-based logic or the production of predefined outcomes, instead valuing indeterminacy as a way of knowing, understanding, and producing educational meaning that is necessary for a continuous process of decision-making within open and emergent learning contexts (Biesta, 2013; Eisner, 2002). Within this framework, unpredictability is understood as a pedagogical condition, indeterminacy as a structural feature of learning processes, and chance as an operative element that activates speculative engagement within creative practices. The pedagogical model under development is conceived as a space of productive uncertainty, where error is accepted and recontextualised, chance is welcomed, and the unexpected becomes sensitive material for learning and reflection. The proposal highlights the importance of allowing students to experience moments of creative vulnerability, understood as opportunities to open speculative spaces that enable new interpretations, relationships, and ways of engaging with art. In this context, the act of creating or developing an artistic project is configured as a learning trajectory marked by sensitivity and imagination, assuming itself as an ongoing process, as referred to by Ostrower (2007), and resonating with reflective and experiential perspectives on artistic learning (Dewey, 1934; Schön, 1983).
Methodology, Methods, Research Instruments or Sources Used The pedagogical model under development is grounded in a play-based, exploratory approach to experiential learning and arts-based education. It integrates unpredictability and randomness as intentional pedagogical strategies that function as moments of interruption, fostering speculative engagement in the creative process. Here, play is understood not as a recreational activity but as a device that enables experimentation, risk-taking, and meaning-making, activating creativity and graphic expression while supporting resilience, the acceptance of error, and problem-solving capacities intrinsic to creative project development (Dewey, 1934; Huizinga, 1955; Kolb, 1984; Eisner, 2002). The research adopts a qualitative, exploratory design with an interpretative orientation and is structured into two complementary phases. The first phase consists of workshop-based fieldwork with students, while the second involves collaborative co-creation workshops with teachers who were present as observers during the student workshops. The workshops were conducted in Portuguese public schools and involved students from artistic education. This phase aimed to observe and analyse how students engage with open-ended pedagogical proposals characterised by chance, indeterminacy, and the absence of predefined learning outcomes, aligning with process-oriented and open pedagogical approaches (Biesta, 2013; Eisner, 2002). The second phase, centred on co-creation workshops with teachers, is conceived as a space for collective reflection and dialogical inquiry into contemporary practices in visual arts education. These workshops draw on reflective and participatory research approaches, valuing teachers’ experiential knowledge (Schön, 1983; Kemmis, McTaggart, & Nixon, 2014). The discussions problematise key challenges in contemporary visual arts teaching, including the pedagogical role of technique, tensions between contemporary practice and formal curricula, expectations surrounding students’ futures, notions of artistic identity in school contexts, and the teacher’s role as a cultural producer. Within this framework, the recognition that teachers do not hold all knowledge positions students as active contributors to knowledge production within co-learning processes (Vygotsky, 1978). Within this methodological framework, unpredictability is approached as a pedagogical condition that frames learning contexts, indeterminacy as a structural characteristic of open-ended creative processes, and chance as an operative element that generates situated responses within teaching and learning encounters. The focus is placed on the creative process as a relational and situated learning space, in which students and teachers engage in moments of co-learning and co-creation. These moments involve situated responses to unforeseen impulses shaped by contextual contingencies and, although challenging, generate shifts and transformations that contribute to understanding arts education as an emergent, continuously evolving educational process (Eisner, 2002; Schön, 1983). Conclusions, Expected Outcomes or Findings The pedagogical model for visual arts education emerges from the need to rethink educational practices within contexts characterised by standardised, predictable, and results-oriented models. By problematising unpredictability as a pedagogical condition, the study highlights practices that introduce moments of pedagogical interruption and suspension of habitual logics of teaching, learning, and assessment. These practices open space for alternative ways of thinking and acting in arts education, aligning with process-oriented and non-instrumental conceptions that value openness and emergence over predefined results (Biesta, 2013; Eisner, 2002). The fieldwork results identify speculation as a pedagogical and artistic mode activated in moments of openness where learning outcomes are not predetermined. In these contexts, learning is understood as an emergent, relational process shaped by chance, indeterminacy, and the negotiation of meaning. From this perspective, the creative project is framed as an ongoing process in which error, vulnerability, and the unexpected are recognised as valuable resources for learning, aligning with experiential and constructivist approaches to education (Dewey, 1934; Vygotsky, 1978). In synthesising these results, unpredictability is reaffirmed as a pedagogical condition, indeterminacy as a structural dimension of creative learning processes, and chance as an operative force that enables transformation within situated educational practices. The research indicates that the proposed pedagogical model reconfigures pedagogical relationships by creating conditions that support speculation, co-learning, and co-creation. The model emphasises pedagogical practices attentive to contexts and processes, questioning traditional hierarchies and supporting emancipatory approaches in visual arts education (Schön, 1983; Kemmis, McTaggart, & Nixon, 2014). This proposal is conceived as a work in progress, open to adaptation and reformulation across educational contexts. By embracing unpredictability and speculation as constitutive dimensions of art education, it contributes to contemporary debates by proposing pedagogical alternatives that value uncertainty, imagination, and collective knowledge construction. References Biesta, G. (2013). The beautiful risk of education. Routledge. https://doi.org/10.4324/9781315635866 Cocker, E. (2023). Tactics for Not Knowing: Preparing for the Unexpected. i2ADS Edições Dewey, J. (1934). Art as experience. Perigee Books. (Original work published 1934) Eisner, E. W. (2002). The arts and the creation of mind. Yale University Press. hooks, B. (2020). Ensinando pensamento crítico: Sabedoria prática (B. Libânio, Trad.). Editora Elefante. Huizinga, J. (1955). Homo ludens: A study of the play-element in culture. Beacon Press. (Original work published 1938) Kemmis, S., McTaggart, R., & Nixon, R. (2014). The action research planner: Doing critical participatory action research. Springer. https://doi.org/10.1007/978-981-4560-67-2 Kolb, D. A. (1984). Experiential learning: Experience as the source of learning and development. Prentice Hall. Ostrower, F. (1990). Acasos e criação artística. Rio de Janeiro: Editora Campus. Rancière, J. (2010). O mestre ignorante: Cinco lições sobre a emancipação intelectual (M. Correia, Trad.; Â. Magalhães, Rev.) [Portuguese ed.]. Edições Pedagogo. Schön, D. A. (1983). The reflective practitioner: How professionals think in action. Basic Books. Vygotsky, L. S. (1978). Mind in society: The development of higher psychological processes. Harvard University Press. 29. Research on Arts Education
Paper Building Solidarity Among Diverse Participants in Social Art Workshops Japan, Japan Presenting Author:Contemporary society worldwide is entering an era of diminished social solidarity and social division (Stichweh, 2021). Japan is no exception. Divisions based on diverse factors such as economic power, background, and generation have intensified in recent years, and political polarization is advancing (Inamasu, 2025). It means that even when sharing the same physical space, what people see, hear, and construct from these experiences differ. People occupying the same space and time are, in effect, living in "different worlds." What potential does art hold in such a stratified modern society where these layers lack intersection? Asher (2007) suggests art has the potential to open boundaries between diverse groups differing in discipline, generation, faith, and culture. Art can not only bridge differences but also create new communities that encompass them (Asher, 2007). In fact, unlike academic skills learned in school, art allows anyone to engage in creative activities grounded in their inherent aesthetic literacy (Ishiguro, in press). Moreover, the creative process and the resulting work do not presuppose comparison or competition with others; one can engage in it, prioritizing one's own preferences. For these reasons, art activities also have a healing effect, offering a helping hand to those suffocating under evaluations based on values that privilege certain groups within existing society. Furthermore, artistic activities demand the activation of imagination not only from the creator but also from those who appreciate the creative process and the work itself, fostering the ability to see the unseen and hear the unheard (Greene, 1995). Art activities can also provide opportunities to critically examine current value systems and the unjust distribution of power and wealth. Methodology, Methods, Research Instruments or Sources Used This research was conducted by the presenter in 2023, focusing on the activities of the Social Art Workshop held approximately once every three months, four times a year. The Social Art Workshop involved engaging in creative activities while enjoying the shared presence of people who happened to be in the same space. Its primary purpose was to create a common space where participants could freely converse while enjoying art-making. Workshop participants varied from session to session, ranging from a minimum of six to a maximum of nine people, including the facilitator and the studio owner. Among them, three were regulars at the studio who had previously received meals at the soup kitchen. The rest were general participants; some joined after taking my intensive university course for middle-aged and older adults, "Designing Art-Based Learning Activities." Before each workshop session, participants were provided with an outline of the activities to be conducted. They were informed that participation could be discontinued at any time and that audiovisual recordings would be made, but would be used solely for the reporter's research. That personal information would not be disclosed. Only those who agreed to the research consent form participated. The first session focused on "Rediscovering Self-Image Through Artworks and Words," where participants were asked to create a clay figure of themselves. This process involved not only reconsidering "what I am" during creation but also viewing each other's work and sharing comments. The second session, themed "Creating My Tree. Then, Everyone's Forest Takes Shape," began with group discussions about what kind of forest to create. Participants then individually made their trees, culminating in a forest created as a flat collage. The third session, "Creating a Street," began with participants discussing what kind of street to build. They then created the street on a large sheet of paper by directly drawing the street scene on the flat surface or attaching three-dimensional elements to it on the spot. The fourth session, themed "Creating a Personal History Kamishibai," required each individual to create a paper theater (kamishibai) that narrated their personal history up to that point using pictures and text. Kamishibai is a traditional Japanese storytelling format (Ishiguro, 2017) featuring pictures and narration for each scene, familiar to most who grew up in Japan. Each session was designed to foster a creative environment focused on "self," "others," and their relationship. Conclusions, Expected Outcomes or Findings Through the four workshops, participants found significant value in the opportunity to speak with "people from another world" whom they would not normally have a chance to speak with directly. A conversation that relies solely on language emphasizes direct relationships when it occurs face-to-face and requires sharing the unseen images it represents. However, with the artwork serving as a third element mediating the relationship, the interaction became indirect, seemingly making it easier to talk. Furthermore, participants realized each possessed rich aesthetic literacy, and those struggling with their creations increasingly sought more advice from others. While individuals facing financial hardship are often socially marginalized, no such asymmetry was observed here. Language tends to reveal embedded values and social hierarchies, but through the artwork, mutual understanding seemed to develop through the creative process and the resulting work. Of the four social art workshops, two focused on creating individual pieces and two on collaborative works. These not only provided opportunities to revisit their pasts but also to diffract (Murris & Bozalek, 2019), where memories, present circumstances, anxieties, and hopes for the future, and discourses with others in the moment, intertwined with the artwork. This process allowed participants not only to examine their experiences from the past to the present critically but also to envision the future. The workshops could have been a learning opportunity involving onto-epistemological transformation, encompassing not just understanding what it is, but also one's own way of being. However, this workshop only heightened the temporary relationships among participants on the day itself; it did not involve jointly examining the social contexts behind each participant, nor did it become an art activity aimed at social transformation (Kakembo, 2025). The relationship between the workshop space and the society outside it remains a topic for future consideration. References Asher, A.(2007). Can the Arts Change the World? The Transformative Power of Community Arts, NEW DIRECTIONS FOR ADULT AND CONTINUING EDUCATION, 116, 3-11. https://doi.org/10.1002/ace.272 Greene, M. (1995). Releasing the imagination: essays on education, the arts, and social change. John Wiley & Sons, Inc. Inamasu, K. (2025). A Social Psychological Approach to the Problem of Social "division." (In Japanese) Annual report of the Center for Evolving Humanities: Study of cultural exchange, 38,15-20. https://ndlsearch.ndl.go.jp/books/R00000002-I009260006693103 Ishiguro, H. (2017). Revisiting Japanese Multimodal Drama Performance as Child-Centred Performance Ethnography: Picture-Mediated Reflection on 'Kamishibai.' In Tatiana, C. and Xiangyun, D. (Eds.), Arts-based methods in education around the world. River Publishers. 89-106. https://ci.nii.ac.jp/ncid/BB27433112 Ishiguro, H. (in press). Theoretical Inquiry into Aesthetic Literacy: Toward Pedagogy for Enhancing Aesthetic Experience. Journal of Educational Research, Department of Education, Rikkyo University, 67. (In Japanese) Kakembo, A. (2025). IIIArt as a Medium for Social Change. IAA Journal of Arts and Humanities, 12(1), 17-22. https://doi.org/10.59298/IAAJAH/2025/1211722 Murris, K. & Bozalek, V. (2019): Diffracting diffractive readings of texts as methodology: Some propositions, Educational Philosophy and Theory, https://DOI:10.1080/00131857.2019.1570843 Stichweh, R. (2021). How Do Divided Societies Come About? Persistent Inequalities, Pervasive Asymmetrical Dependencies, and Sociocultural Polarization as Divisive Forces in Contemporary Society. Global Perspectives, 2 (1): 25658. https://doi.org/10.1525/gp.2021.25658 Valjakka, M. (2022). Layers of (in)visible resilience: art, women, and homelessness in Japan, Critical Asian Studies, 54. 1-25. https://doi.org/10.1080/14672715.2022.2079540 | ||