Conference Agenda
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Please note that all times are shown in the time zone of the conference. The current conference time is: 19th Aug 2026, 20:15:15 EET
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20 SES 02 A: Art, Learning and Community
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20. Research in Innovative Intercultural Learning Environments
Paper Artful Sensing and Encounters With Not-speaking: How Multispecies Entanglements Attune Us To More-than-human Childhoods in The UK and Finland 1: Sheffield Hallam University, United Kingdom; 2: University of Helsinki, Finland Presenting Author:The increasing emphasis on speech and language in early childhood education (ECE), based on a developmental approach to learning, assumes the ideal child should acquire specific skills and knowledge by certain stages. This creates challenges for early childhood and arts educators supporting young children’s development whilst acknowledging that young bodies do not develop in a linear fashion (Murris, 2016). For nonlingual children particularly, a developmentalist approach overlooks the myriad expressions that occur beyond words, where not-speaking is a complex entanglement of environmental, microbial, pheromonal and affective relations. Drawing on multispecies encounters with nonlingual children, this presentation explores the potential of moving education beyond individual accountability and deficit models of human progress. By attuning to subtle registers of movement, atmospheres and sense-based ecologies, we become curious for onto-epistemologies that seem more relevant to the innovative pedagogies and research of arts education in the post-Anthropocene. In co-creating with arts, animals and early education methods, we share sensorial approaches that acknowledge the entanglements of other-than-human elements and find new ways to co-construct dynamic, multispecies languages with the potential for knowing differently. We explore the tensions and fruitful connections arising at the intersections of arts and ECE through two studies in the UK and Finland. First, an experiment with ‘artful sensing practices’ with non-lingual children in a Yorkshire (UK) art gallery, which mobilised wordless expressions with lycra dancing and multispecies movements (Churchill Dower, 2025a). Second, a multispecies research encounter with microbes, animals and unexpected intra-actions in a school zoo in Helsinki (Tammi & Hohti, 2020). We attune to entanglements through inexpert experiments that help us to dismantle mastery, fostering multimodal, multisensory, and multispecies ways of knowing and challenging assumptions about differently capable bodies. In this presentation, we pay attention to the heterogenous porosities, cracks, common worlds and alternative landscapes in multispecies inquiry that disrupt and enrich expectations of childhoods. We invite a curiosity, an exploration of what could be possible if prior knowledge and judgements about expertise or developmental stages are laid aside. We seek new languages, not made up of words, objects and bodies, but of co-constructed movements, pheromones and sensations. We ask whether speculative methods (Haraway, 2016; Springgay & Truman, 2018) and sensing practices (Manning, 2020) (Churchill Dower, 2025b) might open more-than-human ecological spaces for creating more inclusive languages. Through artful sensing practices, we invite an attuning to registers of difference that move within a web of relations not often visible through conventional educational methods. We consider if it is possible for educators to teach without words, and how a multispecies sensing practice might present differently across UK and Finnish settings. Through the outcomes of these two geographically and culturally distinct studies, we consider the commonalities, connections and interdependencies of multispecies relations (van Dooren et al., 2016) and conceptualise new onto-epistemologies for arts and early childhood education. In doing so, we shift the educational bullseye from knowledge acquisition to ways of knowing and reconfigure arts education and childhood studies methodologies to foreground multispecies ecosystems where difference is not othered from without but always, already within (Barad, 2007). Methodology, Methods, Research Instruments or Sources Used This research engaged a speculative arts-based method called Artful Sensing Practices (ASPs) (Churchill Dower, 2025a) which allow nonlingual children to express themselves differently through movement-based improvisations that enable a close attunement to multispecies expressions. Over a six month period, data co-creation took place during movement sessions in an art gallery in West Yorkshire, UK. Six neurodivergent children and their families were invited to engage in movement play activities with various materials such as lycra sheets, feathers, ribbons, wool, sticks and paint, inviting synaesthetic (multisensory) responses (Massumi, 2002) which allow children to ‘feel’ their world without needing to articulate it. With the consent of all participants, video data were collected using Go-Pro cameras and analysed using a ‘video data sensing’ method (Caton, 2019). Here, insights emerged not through a single observation but from multispecies intra-actions between the data set, researcher, participants, materials and movements of the video editing software, animating as much of the sensory experience as possible. Data analysis focussed on the improvisational dance of almost imperceptible movements, intensities and forces that are always vibrating, exchanging and responding (Manning & Massumi, 2014; Tammi & Hohti, 2020) beyond words. As part of a larger multispecies ethnographic research study co-author, Hohti, spent five months with a group of young people, other animals, and school staff in a large educational greenhouse located in a school in southern Finland. During the fieldwork, the greenhouse was inhabited by dozens of bigger other-than-human animals, insects and birds as well as tropical plants, flora and fauna. Around 20 students, appointed as caretakers of the animals, took full responsibility for feeding, cleaning, and taking care of the animals. During the fieldwork, the authors took an ethnographic approach, adopting storytelling as the primary way of writing fieldnotes and analysing the stream of stories told by the children and the teachers about the inhabitants of the greenhouse (Tammi & Hohti, 2020). The authors spent time in the greenhouse listening, wandering around, making contact with the other-than-human animals and plants, taking photos and videos and chatting with the caretakers. Putting these data to work through collaborative writing allowed theoretical concepts and further empirical events to blend in in a rhizomatic manner. The storied materials proved to be an engaging way to talk about the findings to the child research participants, leaning on Haraway’s (2016) insistence that stories do things: “it matters what stories we tell to tell other stories with”. Conclusions, Expected Outcomes or Findings The author developed ASPs in her PhD to show that not-speaking is not a problem. This research demonstrated how reducing the pressure to speak by attending to the myriad nonlingual ways of multispecies knowing increases children’s participation in their worlds. This has significant implications for including marginalised voices in mainstream education and health settings as well as family life. In engaging stakeholders from diverse communities to co-produce ASPs specific to their lingual contexts, this research generated broader understandings of how sensing practices can reframe and support lingual diversity with marginalised families and how to scale the practices for wider pedagogical application. In a similar way, the co-author analysed the phenomenon of touch to discuss care and knowing within child-animal relations. From observations of caring hands and the material-discursive dimensions involved in stroking, the research revealed ways of knowing and not-knowing that are non-innocent, relational, and perform a complex worlding dance that always takes more than two. In both studies, sensing practices meant attending to an infinite number of almost imperceptible micro-movements, including the virtual movements of intensities, forces and affect. They highlighted the precarious dance across multiple participating bodies that demands continuous exchange and response in a complex world of material, microbial and speculative connections. These studies problematised notions of individual response-ability and raised vital concerns on the politics of regulation, essentialism and unequal power relations. Despite different pedagogical, curriculum and policy frameworks across two European countries, both studies demonstrated how sensing pedagogies offer a generative catalyst for learning differently that can often be overlooked through a western educational or pathological lens. This has implications for educational theories and methodologies by pushing the boundaries of anthropocentric, developmental pedagogies, and recommends that educators embrace more risky and uncertain understandings of care and touch as complex ways of knowing about the world. References * Barad, K. (2007). Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Duke University Press. https://doi.org/10.1215/9780822388128 * Caton, L. C. (2019). Video Data Sensing: Working Post Qualitatively in Classroom Based Video Inquiry. Video Journal of Education and Pedagogy, 4(1), 23-45. https://doi.org/https://doi.org/10.1163/23644583-00401001 * Churchill Dower, R. (2025a). Bodies of Difference: Amplifying young children's nonlingual ways of being through speculative methodologies and experiments in movement Manchester Metropolitan University]. https://e-space.mmu.ac.uk/638689/ * Churchill Dower, R. (2025b). Movement Methodologies for Postdevelopmental Pedagogies: Why Movement Play Is Important. In J. Osgood & V. de Rijke (Eds.), Postdevelopmental Approaches to Play (pp. 29–50). Bloomsbury. https://doi.org/10.5040/9781350439528.0008 * Haraway, D. J. (2016). Staying with the trouble: making kin in the Chthulucene. Duke University Press. https://doi.org/10.1215/9780822373780 * Manning, E. (2020). For a Pragmatics of the Useless (Vol. 45). Duke University Press. https://doi.org/10.2307/j.ctv17db477 * Manning, E., & Massumi, B. (2014). Thought in the act: Passages in the ecology of experience. https://doi.org/10.5749/minnesota/9780816679669.001.0001 * Massumi, B. (2002). Parables for the virtual: movement, affect, sensation. Duke University Press. https://doi.org/10.2307/j.ctv11smvr0 * Murris, K. (2016). The posthuman child: educational transformation through philosophy with picturebooks. Routledge. https://doi.org/10.4324/9781315718002 * Springgay, S., & Truman, S. E. (2018). On the Need for Methods Beyond Proceduralism: Speculative Middles, (In)Tensions, and Response-Ability in Research. Qualitative Inquiry, 24(3), 203-214. https://doi.org/10.1177/1077800417704464 * Tammi, T., & Hohti, R. (2020). Touching is Worlding: From Caring Hands to World-Making Dances in Multispecies Childhoods. Journal of Childhood Studies, 14-26. https://doi.org/10.18357/jcs452202019736 * van Dooren, T., Kirksey, E., & Münster, U. (2016). Multispecies Studies: Cultivating Arts of Attentiveness. Environmental Humanities, 8(1), 1-23. https://doi.org/10.1215/22011919-3527695 20. Research in Innovative Intercultural Learning Environments
Paper Nature Art as an Innovative Methodology in Museum Education: Integrating Embodied and Experiential Learning across Indoor and Outdoor Learning Environments 1: Doctoral School of Education, Eötvös Loránd University, Hungary; 2: Faculty of Education and Psychology, Eötvös Loránd University, Hungary Presenting Author:Changing educational landscapes present urgent challenges for pedagogical innovation and the intentional design of learning environments. Within museum education — a context where formal and non-formal learning intersect — nature art offers a compelling methodology that supports embodied, experiential, and multimodal engagement. Positioned at the nexus of cultural institutions, environmental learning, education for sustainability, and community participation, nature art reframes museum learning spaces both conceptually and physically. Nature art refers to creative practices grounded in direct engagement with natural materials, landscapes, and environments. Unlike conventional gallery-based pedagogy, nature art foregrounds process, materiality, and situated experience, encouraging learners to participate actively in ongoing dynamic systems rather than observing completed works behind glass. The emphasis on tactile interaction, sensory awareness, and environmental context corresponds with experiential learning theories that view knowledge as emerging through cycles of concrete experience, reflective observation, abstract conceptualisation, and active experimentation (Kolb, 2015). Furthermore, contextual models of museum learning highlight the reciprocal influence of personal, sociocultural, and physical contexts on meaning-making (Falk & Dierking, 2013), underscoring the relevance of embodied and material dimensions. As part of a doctoral research project, this paper explores how nature art methodologies can contribute to the design of inclusive and flexible learning environments in museum contexts, both indoors and outdoors. To address this, the study integrates an international perspective, drawing on case examples from Europe and the United States that illustrate concrete applications of nature-oriented museum education. Recent projects demonstrate the potential and diversity of nature art in museum pedagogy. The Inspire Nature project at the Fitzwilliam Museum (UK) developed hybrid art-and-nature programmes for primary schools, connecting museum collections with natural themes such as Trees, Water, and Rocks to encourage creative interdisciplinary enquiry and extend learning beyond traditional settings. At the Museum für Naturkunde Berlin, the Art/Nature model (2014–18) offered a collaborative platform for artists and natural history researchers to intervene creatively within museum contexts, prompting participants to reconceive relationships between science, art, and environment. In the United States, Nature Journaling initiatives at the Birmingham Museum of Art extend museum programs into outdoor or nature-adjacent spaces, combining botanical observation with art-making and reflection to foster environmental knowledge and pro-nature behaviours. The research conceptual framework synthesises embodied cognition, ecological aesthetics, and place-based learning traditions to understand how nature art mediates learner engagement with environmental contexts. The approach foregrounds relationality — that is, the ways learners connect with landscapes, materials, and others through shared creative practice — and positions the museum as a site of ecological and cultural dialogue rather than a static repository of objects. Findings from the literature and case examples suggest that nature art methodologies promote multiple forms of engagement. Learners report heightened sensory awareness, increased agency in co-constructing meaning, and stronger emotional connections to ecological processes. Moreover, the integration of outdoor spaces and natural elements supports inclusive participation by accommodating diverse learning styles and cultural backgrounds. These outcomes align with broader European and international educational priorities that emphasise multimodal engagement, learner autonomy, and community connections. However, challenges remain. Institutional constraints, including rigid evaluative frameworks and conservative space use policies, can limit the implementation of nature art in museum contexts. Additionally, logistical issues associated with outdoor programming — such as weather, accessibility, and risk assessments — require careful planning and adaptive design. In conclusion, this paper positions nature art, a young and emerging artistic practice and methodology as an innovative and contextually rich approach for reimagining museum learning environments. By bridging indoor and outdoor spaces, supporting embodied and experiential engagement, and foregrounding material and relational dimensions, nature art can contribute meaningfully to inclusive, sustainable, and culturally responsive educational practices. Methodology, Methods, Research Instruments or Sources Used This study employs a qualitative, multi-method research design to investigate how nature art functions as an innovative methodology in museum education. The methodology combines three interrelated components: (1) international programme analysis, (2) case study synthesis, and (3) literature-based conceptual integration. 1. International Programme Analysis The first component involves systematic documentation of museum education initiatives that incorporate nature art practices across Europe. Sources include project reports, publicly accessible programme descriptions, and institutional pedagogical frameworks. Key examples were selected to reflect diversity in geographical context, institutional scale, learner cohort, and engagement modality. Five representative international practices were selected to illustrate diverse applications of nature art in museum and heritage education. The Land Art Museum Hestøya (Norway) operates as an open-air museum where site-specific artworks transform the landscape into a living learning environment. Museum Insel Hombroich (Germany) integrates art, architecture, nature within an expansive outdoor setting that invites embodied exploration. The Nordic Watercolour Museum (Sweden) connects artistic practice with coastal landscapes through participatory workshops. The Art/Nature model at the Museum für Naturkunde Berlin foregrounds artistic interventions within scientific contexts, while Andy Goldsworthy–inspired programmes across European museums emphasise ephemeral, process-based creation using natural materials. Documentation was collected via institutional websites, project briefings, and published summaries. For each programme, core features such as learning objectives, spatial configurations, materials and artefacts used, participant interactions, and evaluation strategies were recorded. The analysis emphasised pedagogical intent, programme structure, and learner outcomes. 2. Case Study Synthesis The programme analysis informs a comparative case study synthesis, wherein patterns and variations across contexts were identified. This synthesis follows a cross-case thematic approach: first, coding similar educational processes (e.g., sensory engagement, reflective practices) and then connecting these to broader themes such as inclusivity and space design. This phase also involved identification of challenges — organisational, logistical, and evaluative — that affect programme implementation. 3. Literature-Based Conceptual Integration To situate programme findings within academic discourse, a critical synthesis of interdisciplinary literature was conducted. Key sources include experiential learning theory (Kolb, 2015), contextual museum learning (Falk & Dierking, 2013), embodied and material engagement theories (Sasson, 2022), and place-based pedagogies (Sesigür & Edeer, 2021). These literatures provide theoretical grounding for analysing how nature art mediates learner engagement, supports multimodal participation, and interacts with indoor and outdoor environments. The integration of programme analysis, case synthesis, and conceptual frameworks enables a nuanced understanding of nature art as a methodology that is both context dependent and educationally generative. Conclusions, Expected Outcomes or Findings This study highlights the potential of nature art as an innovative and contextually responsive methodology within museum education. Through analysis several key outcomes emerge. First, nature art practices facilitate embodied and experiential learning that connects learners with both natural environments and cultural contexts. Engagements such as the hybrid learning strands at the Fitzwilliam Museum, collaborative artistic interventions at Museum für Naturkunde Berlin, and nature journaling activities at Birmingham Museum of Art illustrate how museum education can transcend indoor galleries and extend into outdoor or nature-adjacent spaces. These practices activate sensory, emotional, and reflective dimensions of learning, fostering deeper connections between participants and their surroundings. Second, the integration of indoor and outdoor learning environments supports multimodal participation and learner agency. By incorporating natural materials, landscape features, and site-specific tasks, programmes show that museum learning is not confined to exhibition spaces. Such spatial flexibility aligns with broader educational goals that prioritise accessibility, inclusivity, and learner-centred design. Third, nature art methodologies contribute to inclusive and culturally responsive learning by accommodating diverse expressive modes and learning preferences. The capacity of nature art to merge artistic creativity with environmental inquiry makes it particularly suited for intercultural dialogue, a key priority in contemporary education. Despite strengths, institutional and practical challenges persist. Constraints related to risk management, weather conditions, and resource allocation can impede consistent implementation. Addressing these challenges will require adaptive institutional policies, collaboration across sectors, and expanded frameworks for evaluating outdoor and experiential learning outcomes. In conclusion, nature art offers a promising avenue for reimagining museum education in ways that align with international priorities such as innovation, inclusion, and engagement with diverse learning environments equally for individuals of diverse ages and social backgrounds. Future research should explore longitudinal impacts of nature art participation and develop evaluative tools that capture affective and embodied dimensions of learning. References Bautista, A. (2025). Learning environments as pedagogical tools: Designing flexible and inclusive spaces. Learning Environments Research, 28(1), 1–15. Egervári, J. (2022). Hely- és közösségalapú természetművészeti gyakorlatok. In P. Balázs (Ed.), Tér – Természet – Művészet (pp. 20–39). Farkaskő Noszvaji Barlang Művésztelep Egyesület. Erőss, I. (2011). Természetművészet. EKF Líceum Kiadó. Falk, J. H., & Dierking, L. D. (2013). The museum experience revisited. Routledge. Kagan, S. (2014). Art and sustainability: Connecting patterns for a culture of complexity. Transcript Verlag. Kolb, D. A. (2015). Experiential learning: Experience as the source of learning and development (2nd ed.). Pearson Education. Sasson, R. (2022). Materiality, space and relational pedagogy. Pedagogy, Culture & Society, 30(4), 557–573. Sesigür, A., & Edeer, S. (2021). Place-based visual arts education in natural environments. Pegem Journal of Education and Instruction, 11(1), 97–134. 20. Research in Innovative Intercultural Learning Environments
Paper Rievdan – Reflecting Changes in Sápmi Through Art University of Lapland, Faculty of Art and Design, Finland Presenting Author:The Arctic is undergoing rapid environmental and sociocultural transformations driven by global processes and climate change. These changes disproportionately affect Sámi Indigenous communities and other northern populations whose livelihoods and cultural practices are closely connected to their environments. While such transformations often generate vulnerability and loss, they may also create new possibilities for adaptation and renewal. Rievdan (Change) is a two-year arts-based action research project that foregrounds Indigenous worldviews and epistemologies in the North. The project seeks to enhance community resilience by supporting artistic expression as a means of articulating local perspectives and communicating them to broader audiences and decision-makers. Our presentation introduces preliminary findings from art-based action research conducted in 2025-2026 in Vuotso (Finland) and Kárášjohka (Norway), both located in the Sámi homeland. Participants across generations engaged with themes of change through collaborative artistic processes. In our presentation we will analyse both the process and products and reflect how community-based art education can open spaces for participants to negotiate through art meanings of their ecocultural identity within changing environmental and multicultural contexts. The theoretical basis is grounded in community-based art education and AAE, and shares through public art the paticipans voices and highlights Northern perspectives for broader audiences. The project is funded by the Kone Foundation and the University of Lapland, it forms part of the Faculty of Art and Design at the University of Lapland’s development work in transformative Arctic art education.
Methodology, Methods, Research Instruments or Sources Used Art-based Action Research The data consist of visual and textual documentation of both processes and outcomes, analysed through intertwined reflective and reflexive thematic methods. Conclusions, Expected Outcomes or Findings As expected outcomes our research demonstrates how participants engage with their environments through art, attribute meanings to places that matter to them, and begin to reflect on potential futures. Art can strengthen intercultural and environmental awareness, foster a sense of belonging, and support the development of agency References Daniel, A. D., & Fernandes, J. (2024). Promotion of community resilience: Do citizens have a role to play? Local Environment, 29(8), 987–1003. https://doi.org/10.1080/13549839.2024.2345621 Eldridge, L. (2016). The Need for Visibility and Voice of Sami People in Art Education. Journal of Cultural Research in Art Education 33(1), 27–47. https://doi.org/10.2458/jcrae.4895 Jokela, T. (2019). Arts-based action research in the North. In G. W. Noblit (Ed.), Oxford Research Encyclopedia of Education. https://doi.org/10.1093/acrefore/9780190264093.013.522 Hiltunen, M. & Korsström-Magga, K., (2025). Nomadic Antlers. New Genre Arctic Art Education and Activism. In Sohns, A. (Ed.). Artistic Dialogues with the Arctic North: Environmental Change and Identity in Transition (1st ed.). Routledge. https://doi.org/10.4324/9781003545880 Jokela T., &. Hiltunen, M. (2023). Community-based art education: Promoting revitalization and eco-cultural resilience for cultural sustainability. In: Lin C-C., Sinner A. & Irwin R.L. (Eds.), Community arts education: Transversal global perspectives, pp.86–98. Intellect. Korsström-Magga, K. (2025). Boazoeallin - reindeer life: Exploring possibilities for decoloniality with community-based art education. [Doctoral dissertation]. University of Lapland. 20. Research in Innovative Intercultural Learning Environments
Paper Arctic Teacher Education in Collaboration. Creating Dialogues for Learning with Art, Science and Communities University of Lapland, Finland Presenting Author:This paper presents an example of a shared hybrid university course on Arctic Art Education for teacher students from Sweden, Norway, Finland and Greenland. The collaboration aimed to encourage dialogue between Arctic communities, children and youth, teacher students, professors and local actors from cultural and educational fields. The Arctic partner universities sought to integrate contemporary art practices with Northern knowledge and traditions, enabling the examination and experience of sustainability issues from the perspectives of Arctic communities and places. The online and onsite activities aimed to create dialogue spaces, utilising multidisciplinary approaches and integrated art-science teaching connected to local places and communities. Grounded in local contexts, Arctic Art Education (AAE) is ecoculturally sensitive and transcends borders between countries and universities. By situating the project within broader discourses on decolonisation, sustainability, and land-based education, we aim to articulate how AAE can serve as a foundation for reimagining the role of art in the North, not only as an academic subject but as a relational, transformative, and future-oriented practice. The Action research data focused on this paper consists of the teacher students’ feedback and personal reflections. The results of the qualitative analysis show how art-based action research develops the multidimensional structure of the shared course. Shared courses facilitate boundary-crossing knowledge production, meaningful encounters in remote interactions, and situational and transformative learning. This offers a platform to deal with Arctic issues in Nordic collaboration in teacher education by emphasising the special features of Arctic communities and education in real-life situations.
Methodology, Methods, Research Instruments or Sources Used We are using art-based action research (ABAR) (Jokela, 2019; Jokela and Huhmarniemi, 2018) strategy to develop the Nomadic hub of AAE. Action research aims to develop practices by intervening in the existing structures with new approaches planned in collaboration with the participants and stakeholders. The ABAR approach focuses especially on combining artistic practices and art education with regional development and community empowerment (Jokela, 2019; Jokela and Huhmarniemi, 2018). The AAE course challenged the universities’ cooperation for a shared hybrid course combining online and fieldwork. It introduced Arctic communities for a visiting Art education event with a large spectrum of actors. Conclusions, Expected Outcomes or Findings In this article, we have examined the development and implementation of the Nomadic Hub of the Arctic Art Education (AAE) as a collaborative initiative among Arctic universities. Using art-based action research, we evaluated the pedagogical approaches and outcomes of the course, drawing on student reflections and experiences from fieldwork. These insights informed the iterative development of the course model and the defining elements of AAE activities. In conclusion, the Nomadic Hub of AAE offers a transformative, place-responsive educational model that supports ecological awareness, cultural sensitivity, and collaborative knowledge production— prioritising relational learning that values local knowledge, storytelling, and shared authorship. Through sustained collaboration and critical reflection, AAE can continue to evolve as a vital framework for rethinking art education and sustainability practices in the Arctic. References Manninen, A., Stoll, K., Sørmo, W. & Gårdvik, M. (2025). Arctic art education in collaboration – creating dialogues for learning. Education in the North, 32(3) s.287-316. JOKELA, T., BERLINER, P., and MANNINEN, A.E., (2024). Introduction: Creating Sustainability Portraits in the Arctic. In: T. JOKELA, P. BERLINER and A.E. MANNINEN, eds., Creating Arctic Sustainability Portraits. Rovaniemi: University of Lapland, pp.8–12. Available: https://urn.fi/URN:NBN:fi-fe20241209100493 JOKELA, T., and HILTUNEN, M., (2024). New genre of Arctic art education as a way of knowing the North. In: T. JOKELA, M. HUHMARNIEMI and K. BURNETT, eds., Relate North: New Genre Arctic Art Education beyond Borders. InSEA Publications, pp.12–37. https://www.insea.org/wpcontent/uploads/2024/12/RN2024_WEB.pdf JOKELA, T., and HUHMARNIEMI, M., (2022). Arctic art education in changing nature and culture. Education in the North, 29(2), pp.4–27. https://doi.org/10.26203/55f2-1c04 JOKELA, T., and HUHMARNIEMI, M., (2021). Stories transmitted through art for the revitalisation and decolonization of the Arctic. In: R. SØRLY, T. GHAYE and B. KÅRTVEIT, eds., Stories of change and sustainability in the Arctic regions: The interdependence of local and global. London: Routledge, pp.57–71. JOKELA, T., HUHMARNIEMI, M., BEER, R., and SOLOVIOVA, A., (2021). Mapping a new genre of Arctic art. In: L. HEININEN, H. EXNER-PIROT and J. BARNES, eds., Arctic Yearbook 2021: Defining and mapping sovereignties, policies and perceptions. Available: https://arcticyearbook.com/arcticyearbook/2021/2021-scholarly-papers/400-mapping-new-genre-arctic-art | ||