Creative Inquiry in the Arts & Humanities: Models of Undergraduate Research aims to assist faculty and administrators of any academic discipline who are creating undergraduate research opportunities that move beyond the natural and social sciences, as well as those working to sustain well-established, multidisciplinary programs. It offers examples of successful programs, assignments, curricula, journals, and conferences that support the research, scholarship, and creative activity of students in arts and humanities disciplines. Those examples cover a diversity of students' scholarly and creative work, including individual and collaborative writing, oral presentations, works of visual art, scholarly compilations, exhibits, musical compositions, plays, performances, public scholarship, and publications in many different forms. Those who mentor undergraduate research in the arts and humanities know the challenges of working with student researchers in disciplines in which solitary scholarship and individual creative processes are the norm. This work simply cannot, and should not, replicate a scientific model that utilizes teams of researchers, pooled data, and calibrated methods. Student research in the arts and humanities must reflect the kinds of work that scholars do in those fields. But which skills and bases of knowledge can mentors impart to students who do not have access to archives and special collections, who do not read classical languages, or who are just beginning to learn techniques that scholars in the field have mastered? How can faculty find the time to mentor individual student researchers when they are responsible for teaching hundreds of students every semester? Is it wise for faculty to invest that time in their undergraduate students' research when they need to publish their own work for tenure and promotion? Creative Inquiry in the Arts & Humanities: Models of Undergraduate Research is a collection of replicable examples and expert advice from scholars who are fully aware of these questions and difficulties and committed to addressing them with practical ideas and successful models. --Publisher description.

With lots of examples and color images, this resource is both a foundational text and a practical guidebook for bringing contemporary art into elementary and middle school classrooms as a way to make learning joyful and meaningful for all learners. The authors show how asking questions and posing problems spark curiosity and encourage learners to think deeply and make meaningful connections across the curriculum. At the center of their approach is creativity, with contemporary visual art as its inspiration. The text covers methods of creative inquiry-based learning, art and how it connects to the “big ideas” addressed by academic domains, flexible structures teachers can use for curriculum development, creative teaching strategies using contemporary art, and models of art-based inquiry curriculum. Book Features: Provides research-based project ideas and curriculum models for arts integration.Shows how Project Zero’s flexible structures and frameworks can be used to develop creative inquiry and an arts integration curriculum.Explains how contemporary visual art connects to the four major disciplines—science, mathematics, social studies, and language arts.Includes full-color images of contemporary art that are appropriate for elementary and middle school learners.Demonstrates how arts integration can and should be substantive, multi-dimensional, and creative. “If you long for an arts classroom that connects students to the astonishingly interesting world they live in and want some helpful guidance on how to do it, this is the book for you!” —From the Foreword by Connie Stewart, University of Northern Colorado

'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.

Art Practice as Research, Second Edition continues to present a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practices, and contexts of artistic inquiry and positions them within the discourse of research. Sullivan argues that legitimate research goals can be achieved by choosing different methods than those offered by the social sciences. The common denominator in both approaches is the attention given to rigor and systematic inquiry. Artists emphasize the role of the imaginative intellect in creating, criticizing, and constructing knowledge that is not only new but also has the capacity to transform human understanding.

This book explores tools and techniques for creating the arts with groups. It provides insights into why workshops are such an effective and relevant form of creative practice. Throughout, two experienced practitioners share successful principles and qualities. They also include examples of workshops that explore ways of facilitating creative exploration. The authors believe that underpinning any good workshop practice is an understanding of what constitutes a workshop. This is a process in which the relationship between artist/researcher and participant/audience, maker, and witness is fluid. It extends each individual’s abilities and connects doing to learning to inquiring in a single process. The book itself is a dialogue on, and an investigation into, this practice. It fully explores the specificities of workshop practice in relation to how it engages others in arts-based research. Readers learn how workshops involve inquiry into six areas: inquiry into subjects, artistic processes, skills, self, the world, and relationships with others. In the end, this informed investigation helps practitioners to better reflect on their own approaches to arts-based inquiry and research. This, in turn, leads to a better understanding of how readers can use workshops for the maximum benefit of all participants, both individuals and groups.

This book presents practical examples of modern research in the arts and education, and details how to prepare a thesis. A strong theoretic base is provided with chapters on arts therapies and culture studies. Contents: THE QUEST: What is Research? What is Arts Education? THEORY: The History of Inquiry; Contemporary Forms of Inquiry; Contemporary Knowledge and Reason; PRACTICE: Research Frameworks in Arts Education; Grounded Theory and the CEQRM; The Thesis; The Evaluation of Arts Programs; Examples of Program Evaluation; Research Projects; Arts and Culture Studies; Research in Creative Arts Therapies; Conclusion; Bibliography; Index.

This volume is the second in the series covering the many issues and concepts of how inquiry-based learning (IBL) can be applied to arts, humanities and social sciences programs.

This book is a theoretical and practical guide to implementing an inquiry-based approach to teaching which centers creative responses to works of art in curriculum. Guided by Maxine Greene’s philosophy of Aesthetic Education, the authors discuss the social justice implications of marginalized students having access to the arts and opportunities to find their voices through creative expression. They aim to demystify the process of inquiry-based learning through the arts for teachers and teacher educators by offering examples of lessons taught in high school classrooms and graduate level teaching methods courses. Examples of student writing and art work show how creative interactions with the arts can help learners of all ages deepen their skills as readers, writers, and thinkers.

This volume is the second in the series covering the many issues and concepts of how inquiry-based learning (IBL) can be applied to arts, humanities and social sciences programs.

With artistic research becoming an established paradigm in art education, several questions arise. How do we train young artists and designers to actively engage in the production of knowledge and aesthetic experiences in an expanded field? How do we best prepare students for their own artistic research? What comprises a curriculum that accommodates a changed learning, making, and research landscape? And what is the difference between teaching art and teaching artistic research? What are the specific skills and competences a teacher should have? Inspired by a symposium at the University of Applied Arts Vienna in 2018, this book presents a diversity of well-reasoned answers to these questions.