Portuguese Journal of Artistic Education
The CEPAM publishes a scientific journal dedicated to education and the arts every six months. The magazine is entitled Portuguese Journal of Arts Education [ISSN 2183-7481 or ISSN (print) 1647-905X] and its main purpose is to disseminate the results of investigations and projects carried out in the different artistic areas, as long as they are directed to the education. The Portuguese Journal of Arts Education (RPEA) accepts articles on any subject in the field of artistic education, resulting from original research or essays, preferably in one of the following areas: Music Education, Dance, Theater, Fine Arts, Musicology and History of Art . Articles from all Portuguese Speaking Countries are welcome and, in case of special relevance, texts written in English can be accepted. Proposed articles may not have been the subject of any other type of publication. This restriction does not apply to press releases or abstracts published in the context of scientific meetings. The RPEA provides immediate free access to its content, following the principle that providing free scientific knowledge to the public provides greater global democratization of knowledge. Thus, all articles are made available in an open, free and at no cost to the user. Peer Review Policy Submitted articles are initially evaluated by members of the editorial team and those deemed appropriate are submitted to the technical advice of at least two external reviewers, anonymously selected from the members of the RPEA Advisory Board (rather than Scientific). The review is made anonymously, and reviewers may propose rejection, acceptance without modification or propose changes in content or form, conditional upon publication of the article. Call for papers The Portuguese Journal of Arts Education (RPEA) invites all interested parties to submit proposals for unpublished articles on any topic in the field of artistic education, resulting from original research or essayistic nature, preferably in the areas of Music Education, Dance, Theater, Arts Plastics, Musicology and Art History. For the next volume, the RPEA also invites the submission of works for a thematic dossier on the curriculum and pedagogical strategies in the teaching of music, dance, theater, visual arts, musicology and art history. Articles from all Portuguese-speaking countries are welcome and, in case of special relevance, works in English and Spanish may be accepted. Proposals must be sent by October 30, 2024, to the email: carolinaedmusical@edu.madeira.gov.pt For more information on publication rules, consult the website Policies.
The work Revista Portuguesa de Educação Artística (Portuguese Journal of Artistic Education) is certified under Licence-Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0).
The use of technological tools in study preparation and artistic performance: An exploratory analysis with vocational education students and teachers
This exploratory study analyzes the acceptance and use of technological tools in study preparation and artistic performance within vocational education, based on the Technology Acceptance Model (TAM). A total of 64 students and teachers from the Conservatório – Escola das Artes da Madeira, Eng. Luiz Peter Clode, participated in the study. The results reveal generally positive levels of technological acceptance, with significant differences across sociodemographic and educational groups. Perceptions of ease of use, perceived usefulness, attitude, and behavioral intention showed significant correlations with the actual use of digital tools. The study supports the applicability of TAM in the artistic context, highlighting the importance of considering motivational, cognitive, and contextual factors in the design of effective digital pedagogical strategies.
Copyright (c) 2025 Ruben Sousa, Paulo Esteireiro, Carlos Gonçalves https://creativecommons.org/licenses/by-nc/4.0
Music in Childhood: an exposition on the pedagogical practice developed in the Max and Mia Course in the Wonderful Land of Music
Max and Mia in the Wonderful Land of Music is a music education course for children aged between four and six, which places particular emphasis on parental involvement as a means of fostering socialisation through music as a social and cultural practice. It is a pedagogical experience adopted in several European countries, involving music teachers, researchers, and other professionals dedicated to early childhood education. This text presents the pedagogical framework developed for a lesson within the course. It outlines the objectives, didactic content, strategies, and material resources used in the music sessions involving both parents and children. To support this presentation, it was considered essential to interview the director of the Institute of Modern Music Education and its pedagogical coordinator. Through this reflection, the aim is to present the Max and Mia in the Marvellous Land of Music course and to highlight its potential within the field of music education, recognising it as a valuable space for promoting music and the arts in educational contexts. The programme encourages the joint participation of parents, teachers, and children in a collective musical learning experience which, beyond the acquisition of musical skills, promotes the development of sociability, emotional bonding, and communication, integrating music as a meaningful artistic practice in everyday life.
Copyright (c) 2025 Rosa Barros https://creativecommons.org/licenses/by-nc/4.0
Language Overflows: Scenic Dance in Bento Gonçalves
This article investigates the problematization between dance and writing, focusing on scenic dance in the city of Bento Gonçalves and its records preserved in the municipal museum. It also proposes a reflection on the understanding of a possible overflow of language by exploring possibilities regarding different proposals and modes of inscription in scenic dance writing as an archive. In its corpus, the study presents a set of reflections on language, dance, writing, and heritage with the aim of introducing other understandings about forms of inscription in dance writing and about dance as an archive.
Copyright (c) 2025 Cristian Bernich, Verónica Zevallos https://creativecommons.org/licenses/by-nc/4.0
How to Play the Guitar: An Approach to 16th Century Repertoire with Students of Specialized Artistic Education
In this article, we aim to present the strategies, implications, sessions, and outcomes of incorporating vihuela repertoire into classical guitar practice. The main motivation for this study arose from the absence of such repertoire throughout preparatory cycles, as revealed in the initial phase of our research. This allowed for a comparative analysis between this absence in national curricula and the inclusion of such repertoire in other educational settings, such as the elementary- level guitar programs of Spanish conservatories. Based on the research we conducted in 2020 at the Silva Monteiro Music School, as part of the requirements for obtaining a master’s degree in music education from the University of Aveiro, under the supervision of Professor Dr. Pedro Rodrigues, it is possible to understand the importance of early exposure to this repertoire during the initial stages of learning. Such exposure serves as a strategy for acquiring technical and musical resources (for instance, counterpoint and accompanied melody) that are essential for the performance of contemporary classical guitar repertoire (Munoz, 2016, p. 33).
Copyright (c) 2025 Romeu Curto, Pedro Rodrigues https://creativecommons.org/licenses/by-nc/4.0
The Use of the 26 Prelúdios Característicos e Concertantes para Violino Só from Flausino Valle in the Context of Performance Pedagogy: a Focus on Selected Preludes
The 26 Prelúdios Característicos e Concertantes para Violino Só, by the Brazilian violinist and composer Flausino Valle (1894-1954), present influences from the European repertoire, but it is also possible to identify Preludes with inspiration from Brazilian folklore, landscapes and sound atmospheres, reproduced creatively through the Hybridization of the Instrumental Technique and the use of extended techniques. This creative and sometimes unusual aspect in the use and combination of certain techniques brings an extra challenge for the student, presenting itself as a rich source of study of techniques, timbres and performance possibilities closer to the characteristics of contemporary music. In this work, we propose the analysis of Preludes considered non-idiomatic and how these works could collaborate in teaching students of conservatories and music colleges of interpretive and performing skills, using, as references, Ray (2005, 2015), Tokeshi (2003), Madeira (2017), Vasconcellos (2013), Feichas (2016, 2021[c]). In conclusion, it is understood that to better interpret the preludes extramusical information contained in the published books, in the Catalog of Imitation of Voices of Nature and in the composer’s personal diary are necessary. Moreover, the Preludes are sources of introduction of exploratory techniques that could be included in Pedagogical Political Projects (PPC, in portuguese) of conservatories and university music courses and thus collaborate in the training of young violinists.
Copyright (c) 2025 Leonardo Vieira Feichas https://creativecommons.org/licenses/by-nc/4.0
Music Higher Education Curriculum in Portugal:‘Stuffed Brains or Well-formed Minds?’
This article compares and analyzes the study plans and course structures for music degrees in instrumental performance at higher education institutions (HEIs) in Portugal by looking at patterns and trends in their proper context. We employed a mixed methodological approach, incorporating both qualitative and quantitative methodologies, to guarantee a comprehensive and rigorous examination of the data. The study specified three analytical criteria: i) the dominance of the main scientific field over other fields; ii) the adequate representation of non-practical, vocationally focused subjects aimed at enhancing employability; iii) the alignment of current curricular structures and programs with the international trend of preparing students for portfolio careers (Bartleet et al., 2019). The curricular frameworks exhibited an average concentration of four scientific fields, with an average allocation of 60% of the total credits (108 ECTS) dedicated to instrumental practice. The aforementioned significance establishes it as the primary scientific domain within the applicable programs. The analysis of the representation of non-practical curricular units with a vocational focus revealed a minimal presence, accounting for 1.1% (IES1, and IES4 [Ou HEI1 e HEI4?]) and 2.7% (IES7 [HEI7]) of the overall ECTS. This study demonstrates that the level of alignment with the global trend in the development of portfolio careers (Bartleet et al., 2019) has only partially materialized. It highlights the necessity for higher education institutions (HEIs) to adopt a comprehensive approach to music education that addresses the ever-changing and conflicting demands of academia (knowledge), the market (action), and the individual (self) (Barnett & Coate, 2005). Additionally, it emphasizes the importance of establishing a specific legislative and regulatory framework that allows HEIs to effectively navigate the fluid boundaries, (Clarke, 2011) between the artistic and the normative.
Copyright (c) 2025 Rui Mirra https://creativecommons.org/licenses/by-nc/4.0
The Mask and the Other: A Transdisciplinary Project between Sculpture, Multimedia, and Art Theory
This essay reflects on transdisciplinarity in the context of art education through an artistic creation challenge aimed at 2nd-year students of the Visual Arts and Technologies undergraduate program at the School of Education – Polytechnic of Lisbon.. The proposal, entitled “The Mask and the Other”, aimed at the realization of a transdisciplinary project articulated between the curricular units of Arts, Technologies and Multimedia Workshop IV – Sculpture and Multimedia Art modules – and Art Theory, of the 2nd semester of the school year 2020/2021. The projectual process materialized the stages of the gesture of masking that begins in the individual, dividing, (un)knowing and prolonging itself in the other that contemplates it as an absolute difference of itself.
Copyright (c) 2025 Ana Nolasco, Jorge Bárrios, Kátia Sá https://creativecommons.org/licenses/by-nc/4.0
Traditional Dances in Artistic Education: A Contemporary Perspective
Traditional dances in Art Education reveal an eminently experiential learning experience, which is based on a creative and ethno-artistic dialogue specific to traditional heritage. Traditional dances, by existing in the curricula, incorporate the diversity of traditional cultures present in the different educational contexts. They are a plural and intercultural space for sharing and learning new ethnochoreographic creations. Methodologically, we used documental analysis, fieldwork and professional intervention in the context of traditional dances. We highlight as main evidences, that traditional dances, a) allow us to know, share, and preserve a specific culture; b) enable playful learning experienced in a dance context or in a group context; c) develop expressive, rhythmic, psychomotor, cognitive, coordinative and socio-affective skills; d) promote expression and well-being with oneself and with the group; and e) lead to innovative and intercultural technical-artistic and rhythmic-expressive creations.
Copyright (c) 2025 Margarida Moura, Maria João Alves https://creativecommons.org/licenses/by-nc/4.0
Tradicional Portuguese Music for the Development of Auditory Perception of Musical Training Students
This investigative study is part of a Supervised Teaching Practice internship that was carried out in the 2020-2021 academic year at the Seia Music Conservatory “Collegium Musicum”. We started from Traditional Portuguese Music and created and implemented mechanisms and strategies, with a view to overcoming problems in the development of students’ auditory perception. To collect data, we created questionnaire surveys to be applied to the class, and learning assessment forms were also used, which, together, led to obtaining results that tend to be descriptive. From the results obtained, conclusions were inferred that point to traditional Portuguese music as a teaching resource through which students show good signs of developing their auditory perception and that the use of this musical material proves to be motivating for those who were the target of the study.
Copyright (c) 2025 Rafael Abreu, Fátima Paixão, José Raimundo https://creativecommons.org/licenses/by-nc/4.0
Adapting a Music Education Curriculum for a Bilingual Context: A Teaching Experience Report
This study draws upon the author’s experiences as a music teacher in a bilingual (Portuguese/English) private elementary school in São Paulo, Brazil, from 2017 to 2019. It establishes interdisciplinary connections across four domains: communication, language, culture, and inclusion. These domains inform the study’s approach to observing, reflecting, investigating, analysing, and making curricular adjustments for music education within a bilingual context, characterized by partial or total English immersion for students aged 1.5 to 9 years. The objectives of the study include documenting the curriculum adaptation process by detailing the rationale behind key decisions and sharing effective pedagogical strategies and activities that can be implemented in bilingual, multicultural, and inclusive educational settings. An analytical framework is employed to elucidate the reflective and action-oriented phases of the work. This study aims to offer insights and practical approaches for teachers and educators working in bilingual and inclusive environments.
Copyright (c) 2025 Juliana Abra-Olivato https://creativecommons.org/licenses/by-nc/4.0
Technology in the Training of Art Educators: Current Practices in Music Education in the Digital Age
Based on a study on contemporary music (20th and 21st centuries) and children’s Music Education, this article presents some results that involved musical approaches/practices and the use of technological resources in the training of art educators. Three musical creation projects using audio recording and computer are presented – creative works carried out by Artistic Education students (a course with a transdisciplinary dimension including music, visual and performing arts), in a Higher Education Institution in Portugal, and guided by the researcher. The methodology used was action research, and in this article will be exposed a small part of the second phase of the study based on practical and exploratory work in the classroom with the students. Established on contemporary musical aesthetic models, we sought to develop feasible methodological approaches to the training of art educators, respecting the premises of electroacoustic music.
Copyright (c) 2025 Susana Maia Porto, Francisco Rodilla León https://creativecommons.org/licenses/by-nc/4.0
The Relationship between Artistic Education and the Digital Space
The changes we are currently witnessing in the field of artistic production should lead to a renewal of artistic practices experienced by students in the school context. If currently education focuses on learning processes and adaptation to the student’s needs, there must also be a connection to today’s society, which seeks to decode understandings, encourage a critical spirit, a creative spirit, the development of perception of the power of image and adaptation to multidisciplinary environments, remembering the breadth of the artistic field and its transversality. In this article, we intend to find out how digital space is included in Visual Arts disciplines, as it has influenced contemporary artistic production and the development of areas such as Design and Architecture. We also examine the guidelines for the presentation and application of digital tools and techniques, according to the documents that guide and organize the artistic teaching of Visual Arts, in middle school and high school, and what strategies and suggestions are left by the Ministry of Education of Portugal to adapt this knowledge to the profile of current students.
Copyright (c) 2025 João Pedro França Gonçalves https://creativecommons.org/licenses/by-nc/4.0
Structural Barriers to Accessing Culture
As Europe, we need to reach a commitment with Culture. The first commitment should be to guarantee greater investment and differentiated cultural mobility for the ultra-peripheral regions. This implies having direct financing to schools for cultural visits, as well as study or internship scholarships in cultural institutions. On the other hand, no less important, we need tax justice in the cultural area so that there is no double taxation and there is a reduction in taxes for private entities that finance Culture. The former President of the European Commission, Juncker, stated that artists and creators were the “crown jewels” of Europe. The President of the European Parliament stated that “culture, more than the economy, is what unites us.” I would like to see this Union as concerned with cultural tenths as it is with tenths of the banking and financial system. I would like to see what that other Europe would be like, one that chooses to invest more in culture. Investing in Culture is investing in Democracy. It is investing in human dignity and memory. In our memory. This implies, I insist, the political courage to geographically decentralize the investment made in Culture and to bet on cultural mobility. The mobility of European and third-country artists is a way of promoting peace, sharing visions, and deconstructing stereotypical social and cultural representations.
Copyright (c) 2025 Liliana Rodrigues https://creativecommons.org/licenses/by-nc/4.0
The aim of this paper is to present the process of conception and implementation of the gallery educational programmes accompanying the exhibition of Eva Kotátková, which was presented in CAPC – Musée d’Art Contemporain de Bordeaux and at the National Gallery Prague. In her work, Eva Kotátková combines sculptures, objects, collages, costumes and texts into vast, playful, poetic and colourful installations, to suggest how deeply our personal lives are shaped by our social environment. This approach is materialised by complex pieces of machinery that constrain the body whilst holding possibilities for its transformation. Taking its cue from theatrical devices, a critique of psychiatric ethos, and certain forms of experimental education, Kotátková work develops in tight connection with narratives – a narration in fragments, scattered across the exhibition, that make up the image of the world. My Body is not an Island expands and elaborates upon issues that have been present in the artist’s work for many years. This project, specially conceived to be shown in the nave at the CAPC, is shaped like a gigantic body, half-fish, half-human; it both contains and mediates for a myriad of stories, whose entrancing litany will echo throughout the whole exhibition space. The educational concept is created in collaboration between the artist, curators, educators, teachers and students. This paper explores the challenges posed to the institution by collaborating with contemporary artists who themselves perceive and define their exhibitions as inclusive and educational. Through the activation of the spectator’s empathy and imagination, Eva Kotátková offers a space for understanding and tolerance. The main focus of interest lies in the communications didactic transformation of narratives from art to learning. We were concerned with what themes the exhibition can offer to schools and which pedagogical practices of gallery education would suit this purpose.
Copyright (c) 2025 Kr´ystina Rihová, Anezka Kantarová, Eliska Jelínková https://creativecommons.org/licenses/by-nc/4.0
Educational Ambiences: Expanding Artistic/Cultural Backgrounds of Pedagogy Course Students in Brazil's
The Educating Ambiances Project was started in 2019 in the Pedagogy course at Universidade Presbiteriana Mackenzie (São Paulo/Brazil). Its objective is to value the power of educational ambiences as a set of social, cultural, aesthetic conditions that can boost citizen social interaction and expand the cultural repertoire, articulating cultural mediation, art and educational practices. In 2022, with the participation of twelve curricular components and eleventeachers, in addition to research, proposed objects were created, considered as educational resources to arouse interest, inform, invite those who play/listen/try to visit spaces outside the classroom. The research, the production of proposed objects and experiences in Early Childhood Education schools and early steps of Basic Education were evaluated and continue to germinate actions in the continuity of the project. As much for the students as for the course and for all the professors involved, the possibility of the union between teaching, research and extension, the tripod that characterizes the function of the university, composed a rich experience in the understanding of educational processes and the context as a territory of learning.
Copyright (c) 2025 Mirian Martins, Maria Lopes https://creativecommons.org/licenses/by-nc/4.0
The Exploration and Expression of the Heritage Richness in Arts Education in the Multi- Cultural Society of Singapore: The Preservation and Practice of the Tradition of Xiqu in Mandarin Drama Curriculum Design and Actor-Teaching
A young nation, the Republic of Singapore was established in 1965 as a state of multi-cultures and multi-ethnicities as well as multi-languages with English, Chinese, Malay, and Tamil-speaking communities. The arts educational program of the Chinese-speaking Drama was introduced at Nanyang Academy of Fine Arts in 1997 with the establishment of this inaugural Mandarin Drama course in the country, where a range of the English-speaking curricula of (A-Level) Theatre Studies and (O-Level) Drama courses, etc. had already been introduced in this post-colonial society. Therefore, the positioning of the mandarin drama curriculum and actor-training has always been challenging: should it follow the global format of the drama programmes, most of which were developed out of the English drama courses, or should it be a curriculum of its own – a question of whether the mandarin drama performative expressions should just be a translated Chinese version of the English Drama at large, or should it be a unique theatrical establishment of its own? This is an issue of how and to which extend the cultural and aesthetic nature from xiqu, one of the oldest existing theatrical traditions of the world cultural heritage should be preserved with curricula design and actor-training in theatre education. This paper examines, reflects, and reviews the curriculum design discourse as well as the arts educational practice with the mandarin drama program in Singapore, a case study in relation to the issue of the preservation of the world cultural heritage in drama curriculum design and actor-training practice at large.
Copyright (c) 2025 Weijie Yu https://creativecommons.org/licenses/by-nc/4.0
Two in One: Visual Education for All as a Sustainability Pile of Cultural Patrimony and as Immaterial Cultural Patrimony itself
By this Research, we verify the Visual Education double structural capability: (1) in the core-Currículum of everyone until adolescence; (2) in its corpus of projects, assuming the value of Immaterial Cultural Patrimony. In (1), we document pioneer Good Practices, for environment improvement through Visual Art-Design Education, in Eco-compatibilization with natural and built environment emergence. In (2), we validate Files of pioneer Visual Education school projects, since 1948 (University of Lisbon Art Education Exploratory; CIEBA-FBAUL): they build curriculum visual aesthetic education sustainability, and the sustainability of Patrimony of which it is a pile – a reference mark to an “university – in-service- teachers” platform, open to international comparison. As a conclusion, we find the need for teaching-learning improvement, also recognized by UNESCO; and that “school creation of Art, frequently of Public nature”, may be recognized by it, as Humanity Patrimony.
Copyright (c) 2025 Elisabete Oliveira https://creativecommons.org/licenses/by-nc/4.0
Classic or Popular Guitar? Impulses for Culturally Inclusive Musical Activity
The article presents reflections on the classical and popular guitar, based on concepts of Intercultural Hybridity and Intertextuality, and on classroom experiences and rehearsals with an ensemble of guitars at a public university in Brazil (Federal University of Mato Grosso), with musical works in dialogue with the theoretical reference. The aim of the text was to reflect on the emblematic repertoire of formal higher education (bachelor's degree) that has its origin in the Western cultural heritage, however, constantly permeated by local, national and transnational realities, in which cultural borders are opaque. This training process becomes inclusive and has an impact on future professional activities, emanating from the subsidies that were offered.
Copyright (c) 2025 Teresinha Soares https://creativecommons.org/licenses/by-nc/4.0
Interaction between the physical and digital worlds has become a contemporary challenge and revelation for art education. With metaverse technologies and spaces developing, it is timely to consider how living art education in the metaverse is affecting art education at present and how this may evolve in future. This article will therefore discuss the values, attitudes, challenges, and directions associated with art education in the metaverse. It will connect metaverse experiences with art, new media, and educational cultures to recommend how art education may embrace the metaverse sensitively and flexibly to advance and align the pedagogy, practice, and policy of art education with contemporary and future life. Issues of reluctance, opposition, accessibility, and change will be explored along with metaverse influences on local and global heritage and sustainability to present a current and developing picture of the complexities and opportunities associated with art education in the metaverse.
Copyright (c) 2025 Rebecca Heaton, Yuzhu Sun https://creativecommons.org/licenses/by-nc/4.0
A Musical Journey: Students’ Reflections on the Compositional Process
The New Sounds of Learning: Composing music for young musicians is a multi-site, multi-year research project partnered with the Canadian Music Centre and the Ottawa Catholic School Board. It seeks to obtain an in-depth understanding of the parameters of writing repertoire for young musicians. Consequently, it examines the conceptualizing, writing, and refining of new string and wind repertoire in collaboration with composers, teachers, and students. Students recorded their compositional experiences in a journal. Data from these journals were examined through a pragmatic lens, revealing the following themes: Conceptualization Stage (Interest, Nervousness, Comfort); Writing Stage (First Draft, Feedback); and Refining Stage (Rehearsals, Growth). The findings will be of potential interest to composers, school music teachers, and post-secondary music educators.
Copyright (c) 2025 Tessandra Wendzich, Bernard Andrews https://creativecommons.org/licenses/by-nc/4.0
Artistic Propositions as a Provocation to Investigate Artistic/Cultural Backgrounds of Students on Pedagogy Courses in Brazil
The concern with the artistic and cultural formation of students of Pedagogy courses, who train teachers to work in Early Childhood Education and in the steps of Elementary School in Brazil, generated the present research still in process. Using artography as a methodological proposal, professors/researchers/artists from 19 Brazilian universities planned artistic propositions as a provocation to investigate the artistic/cultural background that makes up the individual and collective repertoire of those future teachers. The rhizomatic dialogues, from the conception of the research to the first selected and experienced propositions, are offered here as a space for reflection on the challenges, difficulties and discoveries provided by the beauty of the unpredictability of the relationships between theories, between practices, between subjects, times and backgrounds, composing a corpus of study and analysis that will continue to be built collaboratively.
Copyright (c) 2024 Mirian Celeste Martins, Jéssica Mami Makino, Renata Queiroz de Moraes Americano, Juliana Marcondes Bussolotti https://creativecommons.org/licenses/by-nc/4.0
Participatory Art for Change and Social Development:A Proposal for Categories of Analysis
This article shows the work being done within the FEASIBILITY research project (R&D&I project funded by the Government of Spain) which investigates the usefulness of participatory artistic practices as a tool for intervention and transformation of the city, in and from its public spaces, in order to improve the quality of urban life. The team is composed of researchers from different disciplines such as art, education, architecture and geography. It is divided into a series of phases, starting with a definition of analysis tools, to continue with the creation of identifiable categories with concrete practices and a third and final phase of implementation of a proposal. The project is now in its second phase, in which, without attempting to pigeonhole, it pretends to agree on categories of analysis: different roles of artists are raised in them, as well as other fundamental questions such as the artistic format or the material and temporal character of the work. We intend to be able to identify categories with concrete practices so that they can be used as a starting point for new proposals.
Copyright (c) 2024 María-Dolores Callejón-Chinchilla, Rocío Arregui-Pradas, Carmen Andreu-Lara https://creativecommons.org/licenses/by-nc/4.0
Drama Education Enhancing Multilingual Languages for Substation Learning in Taiwan
Since 2018, the Taiwan government has issued the “Bilingual National Policy Blueprint”; most consider bilinguals as speaking Chinese and English. This policy of exclusively preferring English is very controversial in school education; not only do the professors of the English department, who seem to benefit from the policy have opinions, but some primary and secondary school teachers have changed bilingual education into EMI (English as Medium of Instruction) in class. In addition, representatives of the European Union and its member countries in Taiwan jointly wrote to the Executive Yuan to express their concern: the exclusive focus on English language will weaken the connection between Taiwan and European culture. Bilingual education should be oriented towards multilingual education. Language learning must be integrated into life, learning in dialogue, situation, body, and emotion, just like the drama mode of young children playing make-believe. If this is the case, the Department of Linguistics could also add drama to make for a more “humanistic” in the use of language. When drama becomes an assistant, there is an additional layer of protection for student ‘future work. It will naturally increase the number of students in the department so that drama and learning foreign languages coexist. If teachers or college students in the Department of Foreign Language learn drama conventions along with the language, they can understand that studying in this Department is not only about learning languages but also drama and they can see how the Taiwanese opera or puppet shows relate to drama. Just as British students in Tudor ages, combined learning language with drama, it was natural to have drama in the English Literature curriculum. In short, the performing arts course in Taiwan is not only to learn what drama is but also to learn other disciplines through drama, not only to use the playing elements of drama but also to assist the communication skills of language learning. Therefore, learning drama and foreign languages in this model is a win-win and sustainable in the discipline.
Copyright (c) 2024 Chyi-Chang Li https://creativecommons.org/licenses/by-nc/4.0
Alter Ego – 2022 Masks and Social Poster Messages in the Project “Youth Dialogues between Continents 2020 – Latvia, Brazil, Hungary, South Africa”
The Russian invasion of Ukraine began in 2022, therefore the publication is based on a comparison of the conceptual images of Alter Ego 2022 masks designed in Latvia since the beginning of the war with the messages of the 2020 social posters of Latvian, Brazilian, Hungarian and South African youth in the global world. It is remarkable that there is only a 2-year gap between the two projects, while at the same time you can see what has changed in young people and what issues have remained the same despite the COVID-19 pandemic crisis and the threat of war. In both cases, the idea was to find out how young people feel in their daily lives and in the world, and what worries them. Thus, in this study, we have analysed and compared both local and global themes, textual values and changes as well as the visual messages of young people influenced by the Ukraine war, in the period 2018-2022. We concluded that: 1. In order to feel good in everyday life and in communication with society, adolescents need to talk about their problems, ask for help, focus on their inner problems and understand their ALTER EGO This can be improved through the use of expressive tools and forms of visual art such as a “personal mask” and the social poster in art classes. 2. Accessibility, as both exhibitions were displayed in public spaces in Riga (the capital of Latvia) and also made public on websites. They have become important events both locally and globally, as discussions and dialogues have developed in Latvian society, between European countries and between continents – Europe, Africa and South America. 3. On the other hand, limited accessibility was detected precisely at the local level, when, due to restrictions in COVID pandemics and also since the war in Ukraine small-scale exhibitions were only available to students, teachers and staff in the school premises. Limited access to cultural events, coupled with the stress of uncertainty related to the war in Ukraine, creates discomfort, psychological exclusion and exacerbates the social problems of young people, which reflects in the disturbingly tragic works in which teenagers and young people seek answers to questions about their lives and their ALTER EGO.
Copyright (c) 2024 Dace Paeglite https://creativecommons.org/licenses/by-nc/4.0
Dances of Wanderings and Walking Experiences
From experiences out of the multiplicity of actions/reflections in a wandering walk, we present research valuing pluriepistemologies and practices nourished by challenges and wanderings. These contact points brought us together in a project developed in two graduate courses, a colloquium, oral presentations at scientific events and workshops in Brazil and abroad. Our discussion focuses on lived experiences from the graduate course “Art, Education, Somatic” offered in a hybrid way (virtual and face-to-face), which involved two other professors from the graduate programs of the Federal University of Minas Gerais and the Federal Institute of Góias. We also present and discuss the Colloquium “Body Design Experiences” planned with the perspective of the possible in person return after the health crisis peak due to COVID-19. We intertwine our experiences with ideas of the Brazilian educator Paulo Freire, and with thoughts on “wandering”, “caring listening”, “somatic social theory”, “inventive learning”, “meaningful interactions”, among others.
Copyright (c) 2024 Valéria Maria Chaves Figueiredo, Alba Pedreira Vieira https://creativecommons.org/licenses/by-nc/4.0
Between Tradition and Creation: Ceramics in the Upper Ribeira Valley
This article aims to present educational processes from the ceramic creation of pottery groups from Alto Vale do Ribeira, located in the south of the state of São Paulo – Brazil. The ceramic tradition in this region dates back many generations, being the result of deep connections of its residents with the ancestry of this place. Based on the preliminary results of the doctoral research in progress, we turn to this social practice aiming to find the meanings shared by the ceramists that provide an opportunity to reflect on the values of this clay activity and, in this regard, the dimensions that can strengthen the links between creation and tradition. As a methodological procedure, we collected speeches from the potters and analyzed them according to the procedure of analysis of the situated phenomenon. The category presented here is entitled: “I have love for what I do” and deals with certain specificities operating in popular work with clay, the materialized experiences that reveal their domain in dynamics that affirm social identities while expressing and renewing their collective sense.
Copyright (c) 2024 Conrado Marques da Silva de Checchi https://creativecommons.org/licenses/by-nc/4.0
Collaboration with Artists as a Prerequisite for the Development of Teachers’ Creative Practice: a Case Study
Within the broader framework of curriculum reform and changes in education in the Czech Republic, the author examines the collaboration between teachers and artists in formal education and the possibilities of this collaboration for the development of creative pedagogical practice. It explores the adaptation of artistic practices, techniques and approaches to the context of teaching in formal education to develop pupils´creativity. She asks: 1. How does collaboration with artists develop the creative practice of teachers? 2. What artistic practices and approaches can be adapted into teaching to develop creativity? The research project has the character of a multi-case study. In this paper, the author presents the preliminary results of qualitative research of the first case of teacher-artist collaboration informed by the findings of selected international studies. The research is part of the author’s dissertation project.
Copyright (c) 2024 Michaela Kurikova https://creativecommons.org/licenses/by-nc/4.0
Sustainability of Musical Cultures inCompulsory Education in Taiwan
Music education in compulsory education in Taiwan has a long history. National curriculum guidelines in 2000 and 2019 put music into an integrated curriculum with visual arts, dance, and drama, but music stands still in compulsive education in Taiwan. Elementary and secondary school music teachers in Taiwan rely on textbooks primarily for teaching general music. According to research studies, Western classical music occupies the central portion of music textbooks, thus winning significant attention over traditional instrumental music and folk songs from our own culture (Chang, 2012; Lin, 2014). Taiwan is a composite of multi-ethnic groups with diverse musical cultures, and abundant precious music must pass on from generation to generation. Taiwan Ministry of Education has promoted bilingual teaching according to the Bilingual Nation 2030 Policy since 2019. As the Taiwan government defines bilingualism as English and our general-purpose language (Mandarin mostly), many frontline teachers are panic facing the situation. The researcher agrees or is against the bilingual policy but sees it as an opportunity that triggers frontline teachers to design and implement their music curriculum without textbooks. Without the limitation of textbooks, music teachers are free to choose materials and methods based on Arts Domain curriculum guideline. Furthermore, there are more chances to include folk songs and traditional music. Languages used in Taiwan include Mandarin, Taiwanese, Hakka, and more than 16 aboriginal dialects. Languages, as mentioned above, imply multi-cultures and musics. Bringing folk songs from each culture to the music class makes learning multi-lingual. World-famous music composer and educator Zoltan Kodály asserts folk songs are children’s music mother-tongue (International Kodály Society, 2023). Children learn music knowledge, theory, appreciation, and creativity through folk songs by singing and playing, and they can further comprehend the connotation of classical music. Children absorb what music teachers provide in class. Thus, the learning materials and activities must be well-chosen and designed. We aim to guide children to connect to the world through music, grounded in mastery of one’s own music culture and sharing with others. Sustaining our own music culture depends on the music teachers’ effort, and it inspires our children to explore the diverse music cultures in the world.
Copyright (c) 2024 Jessie Hsiao-Shien Chen https://creativecommons.org/licenses/by-nc/4.0
The Portuguese Reception of the Theater of Plínio Marcos
What this essay proposes is to survey, ascertain, catalog and analyze the academic, critical and media reception of Plínio Marcos’ theater in Portugal. It has been increasingly hot to carry out studies that bring together different cultural contexts, especially in the Brazil-Portugal case, because, in addition to the history that unites the two nations from a broader point of view, there are also more political recent context elements that are equally important for comparative investigations. The experience of playwrights and theatrical operators with dictatorial traumatic situations is one of them. Plínio Marcos was the Brazilian playwright most persecuted by the Military Dictatorship between the 1960s and 1980s. In the specific case of this research project, the interest is to know more deeply if there is and how was the insertion of Plínio Marcos’ theater in the academic, critical and mediatic scenario, without, however, failing to determine if his plays were staged by Portuguese theater groups. Thus, it is expected to understand if there was a resonance of the Plinian theater in Portugal and how this process influenced or not the Lusitanian theater scene, especially between the 1970s and 1990s.
Copyright (c) 2024 Helciclever Barros da Silva Sales, Wagner Corsino Enedino https://creativecommons.org/licenses/by-nc/4.0
Brief Notes on Contemporary Public Sculpture in Madeira
In order to deepen the state of the art of contemporary sculpture in Madeira, we present a broad and selective panorama from the mid-20th century to the present day of different artistic interventions in the public space, with the common denominator being sculpture as a territorial element and communicator of memory, taking into account its educational, civic and artistic nature. In this sense, there is an urgent need to deepen, as far as possible, the occupation and justification of sculpture through various references of critical thinking that stimulate legitimization processes and combat inertia in the public sphere, which is intended to be dialogic and active. Good practices are thus highlighted and encouraged among citizens and decision-makers as a fair process in the preparation of public tenders, an essential requirement in expert advice from the world of art and university research for dignifying the place of public and democratic art in the public space.
Copyright (c) 2024 Duarte Encarnação https://creativecommons.org/licenses/by-nc/4.0