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Journal of the Canadian Association for Curriculum Studies
Number of Followers: 0  

  This is an Open Access Journal Open Access journal
ISSN (Online) 1916-4467
Published by Canadian Society for the Study of Education Homepage  [3 journals]
  • The Arts in Curriculum: Aesthetics, Embodiment and Well-being

    • Authors: Avril Aitken, Margaret Dobson, Maria Ezcurra, Claudia Mitchell, Teresa Strong-Wilson
      Pages: 1 - 5
      Abstract: This issue invites the reader to join the authors in a quest for the meaning of Arts in Curriculum; it calls on those reading to see, and not merely look. Drawing on the unique perspectives of educators, artists of diverse forms, and curriculum theorists, the issue invites a consideration of how the unique visions and personal experiences expressed in the issue foster thinking about Aesthetics, Embodiment and Well-being and their place in provoking transformation.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Finding Humanity in Design

    • Authors: Erin Quinn, Stephanie Bartlett, Laurie Alisat, Sandra McNeil, Kim Miner
      Pages: 6 - 22
      Abstract: The Calgary Board of Education’s Design the Shift was a radical step away from typical professional development opportunities. It was a year-long collaboration designed for educators to provoke a shift in practice by redefining curriculum through design. Our definition of design evolved from a linear business model to a much more generous movement. As designers of learning, the participants took up “what really [mattered] to them”, with design becoming an intersection of creativity, place, and community (Chambers, 1998, p. 17). We created opportunities for participants to charge up against an experience, causing them to make, unmake, and remake the curriculum of their classrooms. All experiences inspired the participants to stop, notice, listen and awaken, drawing on Maxine Greene’s (1977) wide-awakeness philosophy.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Memory and Creativity: Finding a Place Where a Heart May Swirl

    • Authors: Annemarie Cuculiza Brunke
      Pages: 23 - 35
      Abstract: This article draws from the fieldwork of my MA thesis, “For a Seed to be Born”: Exploring the Links between Emotions and Everyday Creativity in Elementary Teachers´ Classrooms in Peru (Cuculiza, 2017). Informed by collage inquiry (Butler-Kisber, 2008) and memory work (Strong-Wilson, 2015), the fieldwork comprised an arts-based workshop in which participants were asked to explore and reflect on the lived experiences that contributed towards the development of their creativity (Averill, 1999; Runco 2010; Richards 2010). In focusing on the data collected from one of the participants, namely Heart Swirl (pseudonym), I attempt to answer the following questions: In what ways do memory and creativity interconnect' What sorts of spaces are conducive to the investigation of memories in the educational field' In what ways can artistic expression assist memory and creativity' In support of a reflective practice, this article highlights the importance of recognizing how spaces—and the emotions we attach to our memories of these spaces—may be “latent” in our present (Van Manen, 2016). Engaging in play through collage inquiry in an emotionally safe workshop can assist educators in the development of their own creativity and in their ability to become conscious of the ways in which their past lived experiences influence their pedagogy.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • From Fragmentation to Wholeness: Containers for Healing

    • Authors: Tamara Pearl
      Pages: 36 - 52
      Abstract: Psychological and social fragmentation in many forms confronts us daily. Using a framework of holistic education and Indigenous holism, I propose a pedagogy of repair to facilitate healing and wholeness. The metaphor of container is used to investigate how to transform fragmented parts of the self or of society and lead the fragments towards wholeness by facilitating transformational encounters with ourselves, with others, and with the world. Metaphorical containers are not necessarily physical spaces, but are created by relationships, by ritual, by art-making and by other means. A felt-sense-informed, arts-based inquiry elucidates characteristics of effective containers. An Indigenous model of healing and justice, an alternative prison in the province of British Columbia, serves as a poignant example of an effective healing container.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Silence, Discipline and Student Bodies

    • Authors: Jodi Marie Latremouille
      Pages: 53 - 69
      Abstract: In this ecological poetic inquiry, I contemplate a curriculum of silence, discipline and student bodies. As I seek to work through and against the entrenched-knowings of school and schooling in these ecologically urgent times, I contemplate how children’s bodies are disciplined, how the voices of nature are silenced, how dominance rears its head through the myths of competition, progress and human supremacy. The cluster of poems is a consideration of some of the ways in which bells, security screening systems, silent lunchrooms, dead-lines, and all of the so-called “practical necessities” of schools, serve to silence and marginalize the voices, beings and bodies implicated in the industrial-powerful places and ecologically barren times of education. I ask, what wild, young-old, creaking, sleeping voices, beings and bodies need to be considered in our curriculum encounters' In response to David Geoffrey Smith’s (2014) call for educators to “reimagine new, wiser, human possibilities” (p. 1), I consider how educators may encounter ecological possibilities for a curriculum of living.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Wild Profusions: An Ode to Academic Hair

    • Authors: Mitchell McLarnon, Carl Leggo, Anita Sinner
      Pages: 70 - 89
      Abstract: With the intention of expanding educational conversations through playful encounters, we braid curricular intensities inspired by wild profusions, written in our academic hair and offered as expressions of life writing. Through our hairatives, we share discomforts and provocations that are the stories of our scholarly identities, rooted in the body-word nexus as affective attunements. Through our entanglements, we map our networks of relations and invite curricular conductivity concerning how and why hair is formative in the context of the academy. Living on the precarious margins of stories, we share our narratives within the folds of educational theory to passionately and poetically render our richly textured events as the moments of knowledge creation. In this way, our hair serves as an artistic configuration, where we are manifest in “situated inquiry about the truth that it locally actualises”, to borrow from Badiou (2005), opening what may be described as an “eventual rupture” of our scholarly truths (p. 12). Our ruminations are the imaginaries of academics, or simply living intensities. We intend to crack open from the inside that which is “a reality concealed behind appearances” in an attempt to reconfigure “a different regime of perception and signification” (Rancière, 2009, pp. 48, 49).
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • The Arts, Loose Parts and Conversations

    • Authors: Sheryl Smith-Gilman
      Pages: 90 - 103
      Abstract: Educators today are being asked to design curricula whereby learners’ abilities to analyze, question, problem-solve, evaluate and reflect are being provoked. The quest lies in uncovering suitable teaching approaches that will allow critical thinking skills to emerge organically and meaningfully. I argue that an integration of loose parts can offer a methodology and a provocation that makes way for open-ended, divergent and creative thinking skills to be activated. “Loose parts” can be open-ended materials that are manipulated, designed, dismantled and reconstructed in multiple ways. I also see “loose parts” as a mindset, a process-oriented approach whereby meaningful conversations emerge unexpectedly and add significantly to learning. This article presents two stories to show how arts-based approaches and mindfulness to loose parts can unearth thought-filled and caring conversations. The discussion is inspired and written via a reflective lens of personal encounters, first, in a longitudinal research project with young children in an Indigenous First Nations Community, and, second, with preservice teachers in a university class. It is within these periods that students, teachers and families were impacted by loose parts whereby materials and conversations made way for new perspectives in understanding the world.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Innovative Exemplars and Curriculum Created from Online Videos of Visual
           Artists in Greater Sudbury

    • Authors: Kathy Browning
      Pages: 104 - 126
      Abstract: The article begins with a description of the award-winning online artists’ video project, 14 Videos of Visual Artists in Greater Sudbury, and concludes with a presentation of my pre-service BEd students’ creative use of this digital resource. The video series was conceived and created with the aim of filling a gap in materials that were sorely lacking to teachers of Visual Arts in Ontario. The video series includes Aboriginal, Métis, Francophone and Anglophone artists and highlights the artists’ interconnections with the local community. The streamed, linked and library-accessible videos (see http://www3.laurentian.ca/visual_artists/) served as inspiration for student teachers’ creation of their own innovative curricular exemplars. In the article, I describe the complex inner workings of the research project in order to establish a context for the students’ work. I show how the students were able to conceptualize curriculum through being able to better see what and how to teach through creating art and making exemplars in a variety of media. Using the artists’ work as a catalyst, the students worked in groups, selecting artists whose artwork spoke to them while creating exemplars and co-creating curricula that would be meaningful. The article concludes with student exemplars that offer insights into the value of focusing on local artists in order to better meet Art Education curriculum goals in Ontario and, by extension, elsewhere in Canada.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Seeking Race: Finding Racism

    • Authors: Towani Mahalia Duchscher
      Pages: 127 - 142
      Abstract: This article explores the somatic lessons that I have learned about race and racism from participating in schooling. Using arts-based research inquiry methods of storytelling, dance and poetry, I allowed my somatic knowledge of race to surface. In analyzing this emergent knowledge, I examined how the null curriculum in schools has influenced my own understandings of both race and racism. Here, I question how maintaining the status quo in school is perpetuating fractured self identities in students, as well as a social fractal of repeated racism in society. This article explores the interconnections between race and racism and the impact of erasure on student identity. By delving into and sharing my own personal experiences of race in school, this article aims to provoke educators to consider the impact of the choices made around diversity in schools.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Curriculum as Planned: Who Is Affected When Difference Is
           Marginalized'

    • Authors: Momina Khan
      Pages: 143 - 161
      Abstract: How does a minority mother explain to her Canadian children the meaning of “exclusion”, “religious stigmatization” and “discrimination” when she sees her children’s identity being shaped by “structured silences” (Greene, 1993) in curriculum' Curriculum, in any time and place, becomes a contested site where debate occurs over whose values and beliefs will achieve legitimation through acceptance in the national discourse (Klieberd, 1995). My children live in liminality, as holders of hybrid identities, multiple languages, beliefs and cultures, juxtaposed against a social story of Canadian classroom teaching. Experiences such as theirs “challenge the conceptualization of curriculum as a prefabricated plan” (Wilson, Ehret, Lewkowich, & Kredl, 2017) and foreground the “blind impresses” (Rorty, 1989), gaps and silences of ideology, perceptions and practices (Rautins & Ibrahim, 2011). What are the implications when difference is censored or marginalized' By using autobiographical narrative inquiry and poetic representation, I interrogate my children’s experiences with the Canadian curriculum from the positioning of a minority parent. I explore “encounters” (Greene, 1967) through my unique lens, and propose positioning parents integrally in curriculum conversations in order to move curriculum conceptualizations from a place of binaries defined by “us” and “them”, by “dominant culture” and “minorities”, to a place of shared hope and responsibility, to a just and democratic society.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Creating the Dance and Dancing Creatively: Exploring the Liminal Space of
           Choreography for Emergence

    • Authors: Brittany Harker Martin, Barbara Snook, Ralph Buck
      Pages: 162 - 174
      Abstract: In this paper, three dance scholars explore the tensions and bliss inherent in curriculum delivery through dance integration. It meets the call for a curriculum attuned to provoking encounters (Pinar & Grumet, 2015) through philosophical narration that interweaves experiences as dancers, dance educators, dance scholars and dance integrators. Personal vignettes unveil the sense-making of creative artists tasked with the duty to “deliver” curriculum, and as arts integration specialists tasked with the duty to share knowledge, with teachers, for designing learning through dance. The authors liken the inherent tensions to those of a tight rope walker balancing between forces pulled in opposite directions. They share their own encounters of pedagogical balance and counterbalance, of choreography and emergence, and of leading and following, as each relates to learning design. They also explore the duality of meeting curricular ends and unfolding endless possibilities (Aoki, 2005; Roth, 2014). Together, the authors find that their collective experience leads to three charges for curricular reform: 1) embed dance integration in teacher preparation; 2) infuse dance integration in K-12 curriculum; and 3) provide time for pedagogical experimentation through dance-based inquiry.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Epiphany in Waiting

    • Authors: Anar Rajabali
      Pages: 175 - 184
      Abstract: Rumi writes “Keep walking, though there’s no place to get to. Don’t try to see through the distances . . . move within” (Barks, 1997, p. 278). In this lyrical essay, I begin by enacting a walk I took with my mother along the ocean. I poetically dwell in a sensual phenomenological inquiry where I attune to the experience of this walk as it is unfolding: the images, the colours, the gestures, the scents, the sounds and the silences. Through the (re)telling of this pivotal event, I am then transported to the past, where I (re)enter a painful moment in a classroom. As in the line of the altering hues of the horizon that we walk alongside of, I relinquish to this line of inquiry. As I theorize this space in between the present and the past, I am brought to an epiphany and transcend both experiences into a renewed understanding of my pedagogical self. Here, I learn how the body holds the words; and in poetry as a physical, emotional, and spiritual walking through, I then enter into a place of light. The keen lessons of an encountering give in healing and meaning, illuminating the future with promise and with purpose.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Intersectionality and Solidarity in Curriculum-Making Theatre Encounters
           with Marginalized Youth Researcher-Artists

    • Authors: Rachel Rhoades
      Pages: 185 - 198
      Abstract: In this article, drawn from my doctoral study, I argue that applied theatre encounters can serve as methods of Deweyian social inquiry and as curriculum-making events that illuminate how youths perceive their roles in social resistance and that offer them an opportunity to serve as artists, researchers, activists and public pedagogues. I situate the study in the field of curriculum studies by placing the research project itself in relation to a William Doll’s 4Rs model of curriculum principles: Richness, Recursion, Relations and Rigor. I posit that the research-based applied theatre practice of ethnodrama can potentially serve as an educational space wherein marginalized youths can integrate qualitative research and experiential knowledge as facilitators of a more just society. The 12 racialized, socioeconomically under-resourced youth participants in Toronto focused on intersectionality and solidarity in their ethnodrama action project. I explore the pedagogical, political and artistic choices these youths made in the process of both devising and presenting their original theatrical piece.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Reframing Syllabi as Aesthetic Encounters

    • Authors: Michael Lockett, Gabriel Wong
      First page: 199
      Abstract: This academic work, which is comprised of three artefacts, responds to Maxine Greene’s “Spaces of Aesthetic Education” (1986). The main artefact is a syllabus, from an era of increasingly standardized syllabi, which imagines its aesthetic and educative attributes otherwise. In doing so, it reconsiders the kinds of learning a syllabus might prompt. It stems from a series of conversations we, the co-creators, shared about the ways curricular structures can come to prompt critical, creative and aesthetic attention. We had pursued those intersections in the past from our respective disciplinary perspectives and decided to collaborate on an art/research project, one that could inform and provoke a series of future curricular conversations. As our work unfolded, we spoke of curricular experiences that were meaningful and those were not and tried to articulate what we meant by “aesthetic experience”. We came to lament institutional demands for standardized curricular documents in our respective teaching contexts, especially mandated templates for syllabi. We wondered about the educative and aesthetic consequences of limiting their expression to a series of prescribed descriptors. Eventually we had an opportunity to experiment with the form through a fourth-year course on curriculum theory and practice, an ideal venue for introducing a parallel, yet supplementary, syllabus. That syllabus is displayed in full in this issue of the journal. It is also accompanied by an audio file and a corresponding transcription. Through that recording, we address some of the aesthetic considerations we incorporated into the design, delineate certain curricular choices, and explain the artefact’s discursive significance. 
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
  • Contributors' Biography Notes

    • Authors: - -
      Pages: 200 - 203
      Abstract: The contributor biography notes for the JCACS Special Issue, Summer 2018: The Arts in Curriculum: Aesthetics, Embodiment and Well-Being.
      PubDate: 2018-08-31
      Issue No: Vol. 16, No. 1 (2018)
       
 
 
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