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Creativities in Arts Education, Research and Practice
 CRITICAL ISSUES IN THE
FUTURE OF LEARNING AND
TEACHING
ඏඈඅඎආൾ 15

Editors

Britt-Marie Apelgren, University of Gothenburg, Sweden

Pamela Burnard, University of Cambridge, UK
Nese Cabaroglu, University of Cukurova, Turkey
Pamela M. Denicolo, University of Reading, UK
Nicola Simmons, Brock University, Canada

Founding Editor

Michael Kompf† (Brock University, Canada)

Scope

7KLVVHULHVUHSUHVHQWVDIRUXPIRULPSRUWDQWLVVXHVWKDWGRDQGZLOOD൵HFWKRZOHDUQLQJ
and teaching are thought about and practised. All educational venues and situations
are undergoing change because of information and communications technology,
globalization and paradigmatic shifts in determining what knowledge is valued.
Our scope includes matters in primary, secondary and tertiary education as well
DVFRPPXQLW\EDVHGLQIRUPDOFLUFXPVWDQFHV,PSRUWDQWDQGVLJQL¿FDQWGL൵HUHQFHV
between information and knowledge represent a departure from traditional
HGXFDWLRQDOR൵HULQJVKHLJKWHQLQJWKHQHHGIRUIXUWKHUDQGGHHSHUXQGHUVWDQGLQJRI
WKHLPSOLFDWLRQVVXFKRSSRUWXQLWLHVKDYHIRULQÀXHQFLQJZKDWKDSSHQVLQVFKRROV
colleges and universities around the globe. An inclusive approach helps attend to
important current and future issues related to learners, teachers and the variety of
FXOWXUHVDQGYHQXHVLQZKLFKHGXFDWLRQDOH൵RUWVRFFXU:HLQYLWHIRUZDUGORRNLQJ
FRQWULEXWLRQV WKDW UHÀHFW DQ LQWHUQDWLRQDO FRPSDUDWLYH SHUVSHFWLYH LOOXVWUDWLQJ
VLPLODULWLHVDQGGL൵HUHQFHVLQVLWXDWLRQVSUREOHPVVROXWLRQVDQGRXWFRPHV

The titles published in this series are listed at EULOOFRPFLÀ

Creativities in Arts Education,
Research and Practice

International Perspectives for the Future of

Learning and Teaching

Edited by

Leon R. de Bruin, Pamela Burnard and Susan Davis

LEIDEN | BOSTON
All chapters in this book have undergone peer review.

The Library of Congress Cataloging-in-Publication Data is available online at

http://catalog.loc.gov

ISBN: 978-90-04-36958-0 (paperback)

ISBN: 978-90-04-36959-7 (hardback)
ISBN: 978-90-04-36960-3 (e-book)

Copyright 2018 by Koninklijke Brill NV, Leiden, The Netherlands.

Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf,
%ULOO1LMKR൵%ULOO5RGRSL%ULOO6HQVHDQG+RWHL3XEOLVKLQJ
All rights reserved. No part of this publication may be reproduced, translated,
stored in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording or otherwise, without prior written
permission from the publisher.
Authorization to photocopy items for internal or personal use is granted by
Koninklijke Brill NV provided that the appropriate fees are paid directly to The
Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923,
USA. Fees are subject to change.

This book is printed on acid-free paper and produced in a sustainable manner.

 CONTENTS

Acknowledgements vii

List of Tables/Figures ix

1. Connecting Creativities in the Arts: Exploring Diverse Creativities in

Arts Practice and Arts-Based Research 1
Leon R. de Bruin, Pamela Burnard and Susan Davis

Part 1: Creativities in Arts Practice and Arts-Based Research

2. Exploring Particular Creativities in the Arts through the Voices of

Australian Visual Arts Educators 15
Mark Selkrig and Christine Bottrell

3. ,QEHWZHHQ3UDFWLFHDQG$UW:RUOGVStudio Learning in the University

Art School 33
Megan McPherson

4. Looking for Patterns in the Dust: A Transformative Story of How

$UWV,QIRUPHG,QTXLU\:DV8VHGWR([SORUH&UHDWLYH:ULWLQJDQG
Creativity in Primary Education 47
Amy Mortimer

5. Bunya Pine, Goanna and Star Clusters: Using Metaphor to Frame

,QGLJHQRXV:D\VRI'RLQJ 
Robyn Heckenberg

6. The Stories within: Perspectives from the Island of Guam 85

Sarah Jane Moore

7. Good Question: Exploring Epistemology and Ontology in Arts Education

and Creativity 101
Susan Wright

Part 2: Creativities in Music, Music Teacher Education and the Music

Industry

8. Developing Creative Ecologies in Music Education: Intercultural

Explorations and Encounters in a Creative Music Intensive 119
Leon R. de Bruin

v
CONTENTS

9. Exploring Links between Children’s Creativity Development and

D:RUOG0XVLF(GXFDWLRQ3URJUDP 
Shari Lindblom

10. Music, Mathematics and Creative Processes 157

Fiona King

11. Assessing Creativity in English School Music Education: A Case of

Mistaken Identity? 173
Martin Fautley

12. Training Pre-Service Teachers to be Creative: A Case Study from an

Australian University 189
Sharon Lierse

13. Digital Audio Ecofeminism (DA’EF): The Glocal Impact of All-Female

Communities on Learning and Sound Creativities 201
Elizabeth Dobson

Part 3: Creativities in Drama and Dance and Embodied Learning

14. Dramatic Learning and Indigenous Creativities: A Kinship Approach 223

Susan Davis

15. Creatively Analysing Dance A/r/tographically 237

Peter J. Cook

16. Creative Ideologies: Drama Teachers and Their Ideological Sensemaking 253
Alison O’Grady

17. Connecting Arts Activism, Diverse Creativities and Embodiment

through Practice as Research 271
Pamela Burnard, Tatjana Dragovic, Peter J. Cook and Susanne Jasilek

18. Propositions and Provocations for Advancing Learning and Teaching

through Creativities and the Arts: Creativities Conclusions and Ongoing
Considerations 291
Leon R. de Bruin, Pamela Burnard and Susan Davis

Notes on Contributors 295

vi
 ACKNOWLEDGEMENTS

The editors of this book acknowledge the support of the Australian Association for
Research in Education and in particular the Co-convenors of the Arts Education,
Practice and Research SIG, Associate Professor Susan Davis and Dr Kim
Snepvangers for support in convening the Creative Education and Research Summit
2016, held at the Australian Centre for the Moving Image (ACMI) in Melbourne.
This one-day symposium was also co-convened by Associate Professor Anne Harris
(then of Monash University) and Dr Leon de Bruin. The symposium built upon
the evidence-based outcomes of Anne Harris’ Australian Research Council-funded
study ‘Creativity in Education’, the first Australia-based internationally comparative
study of its kind, in conversation with internationally renowned creativity scholars
Professor Pamela Burnard (Cambridge University) and Professor Pat Thomson
(University of Nottingham). Several of the presentations from that summit have
formed the basis for chapters in this book, with the scope extended to embrace local
and global trends, practices and research in arts, education and creativity.
:H ZRXOG OLNH WR WKDQN DOO RXU FRQWULEXWLQJ DXWKRUV IRU WKHLU ZRUN WKHLU
willingness to attend to detail, energies and their generosity in sharing their research
DQGSUDFWLFH:HZRXOGDOVROLNHWRWKDQNWKHWHDPDW%ULOO_6HQVH3XEOLVKHUVLQ
particular Michel Lokhorst for his support and advice. My deepest thanks are due to
co-editors Professors Pamela Burnard and Susan Davis for their support, guidance,
encouragement, and trust. Thanks also to all artists, teachers, practitioners, and
researchers that we have worked with, or in some way contributed to the thought-
provoking discourses stimulated within this book.
:HKRSHWKDWWKLVYROXPHSURYLGHVDXVHIXOUHVRXUFHIRUDOOWKRVHZKRZRUNLQ
arts education, teacher education and arts and teacher research, and that it stimulates
not only wider discussion, but affective, empowering arts practices, teaching and
learning, and why this is central to human development.

vii
 LIST OF TABLES/FIGURES

TABLE

Table 2.1. Participants’ response to question about links between

creativity and visual art education 21

FIGURES

Figure 2.1. Creativity orientations model 22

Figure 4.1. Imagine If (Mortimer, 2016). Inspired by Alison Lester’s
children’s picture book, Imagine (1989) 52
Figure 4.2. The arts informed methodological star (Mortimer, 2015) 55
Figure 4.3. Blank woolart board 56
Figure 4.4. Completed woolart board 57
Figure 6.1. S. J. Moore Guam Gifts 2017, acrylic on canvas 95
Figure 6.2. S. J. Moore Oceans of belonging, 2016, mixed media on canvas 98
Figure 7.1. Magical story 111
Figure 8.1. Asian gong, western drum kit, Indigenous sound
shells-cultural instruments for exploration 124
)LJXUH 'DQLHODQG'DYLG:LOIUHGLPPHUVHVWXGHQWVLQPDQLND\ 
Figure 8.3. Bae Il Dong and students explore and fragment p’ansori
and western music codes 129
Figure 8.4. Intercultural and interdisciplinary ideas, actions, cultures
and histories emerge 131
Figure 9.1. Child’s representation of a musical excerpt 142
Figure 9.2. Torrance TTCT–verbal averages 151
Figure 11.1. DfE progression trajectories 176
Figure 14.1. ‘Third place’ project participants Indigenous and
non-Indigenous, including the author, middle right 227
Figure 14.2. The Proppa Solid 2017 cast including Leroy Parsons,
Nazarine Dickerson, Mark Sheppard and stage manager/
technician P.J. Rostas, share their personal stories with
students after the show 231
Figure 14.3. A hug of appreciation from one of the students at the
conclusion of the Proppa Solid workshop process 233
Figure 17.1. ‘The dancing body’ embodying activism 275
Figure 17.2. The ‘community body’ becomes a ‘telling’ of the iceberg 278
Figure 17.3. The symbol of an iceberg 280
)LJXUH µ:LWKWKHKHDUWRIDFKLOG¶LQVWDOODWLRQDFDWDO\VWIRU67($0
education 283

ix
 LEON R. DE BRUIN, PAMELA BURNARD AND SUSAN DAVIS

1. CONNECTING CREATIVITIES IN THE ARTS

Exploring Diverse Creativities in Arts Practice and Arts-Based Research

INTRODUCTION

There is no doubt that the arts and diverse practices of creativity provide powerful
platforms for realising the change being called for in classrooms and communities.
Research and practice occurring within and at the intersection between the diversity
of creativities of contemporary arts education practice and arts-based research
provide the means for bridge-building and boundary-crossing work that is required
to enable a revisioning of practice in education. This work matters for the arts, as
well as other educational learning contexts, addressing the need for radical reform
in education.
Contemporary arts practices can offer new ways of knowing, being affected and
new intra-actions between bodies. Systems of affect, kinaesthetic economies
of relation, established through, or in response to, physical discourses effect
pedagogy through intra-action. (Anna Hickey-Moody & Tara Page, 2016, p. 17)
This statement by Hickey-Moody and Page demonstrates how inter-related systems,
materials and the relationalities of power, may be constituted, reproduced and
remade through arts practices and our openness to change. The changing shape of
arts education requires learning and teaching approaches that embody the principle
of intra-action which operates between bodies and matter, how we exchange ideas
and learn with each other as with the plurality of forms of authoring creativities
that nurture adaptable, innovative learners within interconnected, yet diverse global
societies.
As the relationship between creativity and the arts becomes more intricately
explored, so to do we discover the complex and dynamic ways human intelligence is
illuminated by and through arts practice and learning, and the ways the arts promote
fluidity, fluency, malleability and transformability of thoughts and actions, inviting
creative thought and learning into and through other domains (Harris & de Bruin,
2017).
Much of human experience and knowing is expressed through sensory and
emotional forms of knowing. The arts concern themselves with expressive forms,
symbol systems and intelligences engaging our visual, musical, gestural and
kinesthetic modes – predominant modes of communication and experience in our

© KONINKLIJKE BRILL NV, LEIDEN, 2018 | DOI 10.1163/9789004369603_001

L. R. DE BRUIN ET AL.

increasingly media intensified world. Asserting why arts education and processes
maintain a special role to play in creativity education offers windows into the ways
creativity fosters learning constructs that maximise inquisitiveness, collaboration,
adaptability and complexity of processual knowledge deemed essential for 21st
century learners.
The ways learning processes, pedagogies, activities and creativity are interwoven
and embedded in learning and teaching are of paramount importance to igniting,
fueling and maximising creativities (de Bruin & Harris, 2017). By critically
evaluating innovative and dynamic practice and research, this book points to the
pedagogical and organisational praxis that promotes creativities, creative cultures,
and the diverse creative ecologies that foster and promote it.
Critical discourses in arts education are being effected that offer new creativities,
new ways of knowing, and new intra-actions which are fluid not fixed, and that urge
us to rethink and revision the way we prepare to practice, to teach, to research those
who teach and lead in a world of fast changing specialisms and diversities. However,
while creativities research affirms that creativity is an intrinsically pluralised human
trait, it often seems to be resolutely trained out of learners through many current
education systems and practices dominated by standardisation and teacher-proof
approaches to teaching and learning. And yet there are still artists and arts educators
and researchers who have found the keys to ignite, enliven, excite, risk-take and
foster wonderment and epiphany in their classrooms and learning contexts through
locating arts-based creativities as central to learning experiences.
This book argues that creativities in arts practice and arts-based research – as
with arts-based learning – are essential to fostering innovation and adaptation,
and act as the fulcrum through which imagination rich activity can coalesce with
domain specific functional analysis and makes wider learning visible, malleable, and
doable. Emerging practices, research, and practice as research, along with arts-based
research methods challenge existing localised beliefs and ideals, blurring boundaries,
challenging old assumptions and forging new opportunities for innovation that
signal a reflexive turn from nation-based approaches and understandings to more
globally-networked ones that dynamically transform social, cultural and educational
landscapes.
The chapters that feature in this book, canvas key ideas and literature that are
threefold. First, they explore, identify and illuminate understandings of particular
creativities in the arts including diverse arts-based creativity and creativity models
that understand creativity as situated within ecologies and systems approaches to
creative teaching and learning. Second, they interrogate local, regional, national,
and global challenges for artists working in education sectors and for arts education.
Third, they advance arts research around the creative/innovation imperative in
relation to diverse agendas including the economic, environmental, personal and
spiritual, with the implications for future learning and teaching enabled by the arts.
All of these chapters contribute to the assertion of the need for a new paradigm
of multiplicities, from creativity to creativities, from knowledge to knowledges,

2
 CONNECTING CREATIVITIES IN THE ARTS

from learning to multiplicity of ways to approach 21st century teaching and

learning through critically synthesizing, integrating and coalescing information
and knowledge transfer from the local to the global, and back to local learning
communities, through examples drawn from education, practice and research.

IDENTIFYING AND CONNECTING THE CHALLENGES

Expanding the literature on Creativities in Arts Practice and Arts-based Research,

Part 1 chapters adopt disciplinary, interdisciplinary, and meta-level analysis of the
ways arts creativities can be fostered in and across the arts disciplines and beyond.
For example, in Chapter 2, Mark Selkrig and Christine Bottrell, focus on the central
issue of the creation of a space for reflection through which we can consider whether
certain creativities and how this can be promoted in and through the visual arts in
ways that it is not possible to do in other curriculum areas.
:KLOH DUWV SUDFWLFHV DUH VHHQ DQG FDQ RIIHU QHZ ZD\V RI NQRZLQJ DQG ZD\V
of being, their culturally and socially embodied histories are less understood as
facilitative of differently authored intra-actions between material culture of objects
and persons, intercultural dialogue and participatory spaces and inclusive journeying.
Even the transdisciplinary spaces that we simultaneously inhabit and move away
from – what Barad calls the in-between bodily spaces (Barad, 2007) –participate in/
with these relationships Yet, even with the embodied histories which differentiate
creativities, such the forms of authorship that underpin the contemporary arts
space and place of collective arts practices (see www.klub7.de; www.artberlin.de;
www.liquidskyberlin.com ) compared to the matter and meaning of and enabled by
studio learning in the university art or secondary high school, arts education is not
neutral.
In Chapter 3, Megan McPherson focuses on artist-students and their art practices
in the ecology of the university studio, envisaging the embodiment of being and
becoming artists. The entanglements and intra-actions of theoretical bodies (i.e.
the analytical purchase of Elizabeth Grosz and Elizabeth Ellsworth views), and the
materiality of place (academia and the real world) reveal how bodies participate in/
with the relationships that respond and act differently in creative practice.
:KLOHWKHUHLVVWURQJHYLGHQFHRIV\VWHPDWLFUHVHDUFKLQWKHILHOGRIµDUWVEDVHG
research’, much of the research in the area of artist-led arts pedagogies has focused
on identification of the characteristics of learning experiences that are thought to be
effective in supporting student learning (Thomson et al., 2012; Denmead, 2015).
Findings from arts-based research foreground qualities of enjoyment, inclusion,
engagement, transformative thinking, deep knowledge (knowing the central, crucial
ideas of a topic and establishing complex connections) with deep understanding (of
the topic in a systematic way), plus substantive conversation (interactions on the
topic among students and with teachers) and agency (Robinson, 2013). Plausible
mechanisms for the development of these educationally positive aspects are:
(i) increased motivation, (ii) making the abstract concrete, and (iii) the enhancement

3
L. R. DE BRUIN ET AL.

of group work. However, the lack of theorisation means that any extrapolation to
general claims needs to be treated with care.
This theorisation concern has been addressed in Chapter 4 by Amy Mortimer who
employs an Arts Informed Inquiry – involving an aesthetic form which engages with
a “plurality of voices” and “multiple meanings”. This is achieved as well as new
understandings and creativities research advancement on how to promote further
dialogue on the role of creative writing in primary education.
Arts-based research require, and are characterised by, arts-based methodologies,
artistic processes, artistic discourses, artistic expression, artistic tools and materials,
often with the development of a performance or presentation (a performative
outcome). The learning journey is often driven by a creative impulse to the finished
product making the processual and procedural aspects of immense importance
WR WKH VWXGHQWV 0DUVKDOO   :KLOH DUW LV WKH PHGLXP IRU FXOWXUDO DQG VRFLDO
transformation, for facilitating dialogue, for participatory, inclusive journeying,
exploration, and discovery, in trans- and interdisciplinary spaces (Guyotte et al.,
2015), the challenge in doing so is making new discourses come to matter.
In Chapter 5 Robyn Heckenberg using an interdisciplinary lens and an
Indigenous standpoint. The discourse opens a dialogue of convergence and common
understandings, which brings together Indigenous ways of being and seeing.
Using metaphors for connection to cultural values; and star clusters to represent
metaphysical aspects of cultural knowledges and cultural creativities, this chapter
elaborates on how Indigenous ways of doing (ontologies) have much to contribute
in ethical collaborations of creativity and innovation.
Arts-based research situate art at the centre of the learning journey: arts materials
and artistic processes enable abstract, personal, and literal dialogues about ideas and
the role of arts in life. Arts-based research facilitate the exchange of knowledges,
of stories, of histories, from different perspectives, disciplines and contexts and
provide an understanding of different artistic learning processes. Projects are often
completed with site-specific performances or presentations – ‘spaces’ and modes
in which students’ emotions, are integral to the learning (Myers, 2012). Artistic
practices are essential aspects of art-based methods.
In Chapter 6 Sarah Jane Moore focuses on developing deep learning outcomes
for students. She maps the transformative opportunities present in the sharing of
Chamorro and other islander perspectives for educators. She presents collaborative
story building as a way to share learning and strengthen knowledge and perspectives.
The work of Chamorro activist teacher and learner Kisha Borja-Quichocho-Calvo
breathes life into this compelling chapter with yarns from a living and ancient story
based culture.
There are several meta-analyses which have consistently found academic
benefits for arts participation. However, pooled effect sizes range widely and are
not consistent. There are some indications of patterns of effect, such as a higher
impact for younger children and for music studies, but these are not consistent. The
quality of evaluation designs used by studies of arts participation has been criticised

4
 CONNECTING CREATIVITIES IN THE ARTS

as insufficiently robust to draw causal inferences in recent reviews (Fleming et al.,

2016). This remains a significant challenge.
Autoethnographic studies of artists’ pedagogies have generated similar and
valuable insights into the conditions or ‘platforms’ that can be modelled for, and
facilitate in, education. Thomson et al. (2012)’s study drew upon eight case studies.
They identified the value of sociality and relationships, including valuing, and
modelling interactive, collaborative and cooperative ways of working in which
individuality features, and where choice and agency are enabled. They noted the
creation of a space, physical and symbolic, in which the institutionalising influence
of the school can be suspended, and where the absurd, carnivalesque and large-scale
ambitions are possible. Cunningham (2015) and Denmead and Hickman’s (2014)
year-long study of a similar scale drew on the practice of eight community artists.
Their study echoed similar points about how artists create conditions for open-ended
enquiry across: space, time, material, body, and language.
,Q &KDSWHU  6XVDQ :ULJKW LGHQWLILHV RQH RI WKH ELJ FKDOOHQJHV IRU FUHDWLYLW\
focused work which concerns defining what we mean by creativity, which type
of creativity we are referring to, and elaborating on how diverse creativities are
identified. She also addresses the crucial and too often dismissed role of epistemology
and ontology in creativity and in arts-based practice and research.
:KDWWKHVHFKDSWHUVVKRZDVDFROOHFWLRQLVVRPHRIWKHZD\VWKHPDWHULDOLW\RI
contemporary arts practice and arts-based research – one exists in relation to the
other – and emerge through intra-actions between people and matter in processing
of creating, making, engaging with the arts in significant ways.

CONNECTING THE LOCAL AND THE GLOBAL

The diverse ways arts activism, practice and performance continues to evolve
exemplifies the myriad subjectivities and performativities of creative knowledge
and actions emergent in arts practice. Creativities embedded within improvisation,
composition, intercultural, multi-ethnic and interdisciplinary approaches address
histories, traditions, memories, feelings, unspoken imaginaries, and liminal
emergences that come into play. Just as musicians engage, respond, challenge, and
advance their own and others’ dialogue and expression by addressing their personal
‘sounding’ in music making, so to does the arts-music domain grapple, examine,
explore, articulate and reflect on these actions, to better understand and advance
the characteristics of these multiple synchronic and dynamic aesthetics of creative
musicking amongst wider social contexts.
Part 2 of this book explores creative music making, teaching, interdisciplinarity,
intercultural and feminist ecologies, and assessment in music education, investigating
the co-dependence of creative thought and actions which makes us human as well
as musical.
This section explores how in the shaping and developing of musical creativities
and literacies, we are concerned with establishing groundings of self in relation to

5
L. R. DE BRUIN ET AL.

others. In understanding and asserting our own histories, knowledge and skills, we
engage and reflect – as musically reflective practitioners (Schön, 1983) and commit
to our creative acts, we challenge, critique and even dismantle indurated notions
of the appropriate and socially responsible as a means of marking new creative
outcomes. These research chapters of musical practices contribute further to
understandings of the ineludible progression of our creative act, and the grappling
with both affordances and encumbrances performers, educators, and practitioners
endure in their lives in making music, and facilitating music-making in others.
Against globalised dynamics and homogeneity, glocal perspectives assert
a world of localised, fluid borders of practice and transcultural exchanges and
interconnectedness that recognises idiosyncrasy, complexity and diversity of
knowledge and meaning making (Hannerz, 1990). Localised activities act as sites
of synthesis, reconstruction, and metamorphosis acting as points of fusion and
union that integrate race, traditions, and genres. Localised music making shapes the
dynamics and flow of globalisation, transmitting powerful ways of being and knowing,
and asserting new, developing, and often unique music making communities. The
glocal can situate how “fortress communities” resist global influence, and identify
the flow of ideas and practices from the ‘‘periphery’’ to the ‘‘centre’’ (Hall 1991;
Abu-Lughod, 1991). Glocal music making can offer global practices essential
infusions and constructions of intercultural music interconnectivity and inclusive,
non-racialised transformations of 21st century music and music education.
Investigating creativities in music, music teacher education, and the music
industry, these studies navigate diverse collective and individualised circumstances.
In Chapter 8, Leon de Bruin investigates a Creative Music Intensive, analysing
creative music-making as a social practice that invokes, synthesises, and integrates
Korean p’ansori, Australian Indigenous musicians with student instrumentalists and
vocalists. Music that brings together affinities of multiculturalism and inter-culturalism
organise as fluid mechanisms through which musicians as explorers cross borders and
reorganise themselves into fluid, shifting, diverse communities. Improvising bodies
coming together establish an intercorporeality of embedded cultures and tomes
of knowledge that engage in music making that reinforce difference and rupture
contiguities. This chapter captures how inclusive improvised music can allow for the
fluid motion of traditions, can recognise multiple worldwide perspectives and afford
an experimental and explorative multicultural, multi-ethnic base. As an improvisatory
immersion and practice, freedom of expression emerges from finding new meanings
outside of imposed conventions, discovering new vocabularies and shared histories,
new tools for saying things differently, beyond conventional orthodoxies allowing a
fusion of musical horizons to emerge (Gadamer, 1989).
In Chapter 9, Shari Lindblom’s study of primary aged children explores children’s
immersion in musical landscapes including Javanese gamelan, Hindustani tabla and
:HVW$IULFDQGMHPEH(QYLVLRQLQJ6WHUQEHUJDQG/XEDUW¶V  FRQIOXHQFHWKHRU\
of creativity, data is articulated through child experiences of storytelling, confidence,
motivation, improvisation, group dynamics, individualism, and environmental

6
 CONNECTING CREATIVITIES IN THE ARTS

affects upon young, musical learners. Positive benefits to creativity displayed

through convergent and divergent thinking, fluency, flexibility, originality and
problem-solving ability argue that multicultural world music education programs
could become an important educational tool in promoting creativities.
In Chapter 10, Fiona King investigates Primary school creativities between
mathematics and music are explored, positing the benefits of encouraging a holistic
primary school curriculum focus towards creative learning experiences. King
exposes the connections between music and mathematics and their inexorable
interconnection through form, structures, notation and coding. Discussion of
the current debate surrounding STEM/STEAM education and the way music/
arts education can facilitate the ability for teaching for creativity and offers
consideration of the myriad musical creativities that can enhance mathematics if
taught in combination. King offers salient impetus for multi and interdisciplinary
connectivity between music, the arts and other domains such as mathematics, and
the advancement of more nuanced and sophisticated learning applications through
STEAM education.
Martin Fautley’s cautionary expose of the recent developments in English Music
education is surveyed in Chapter 11. Music curriculum in the UK is outlined through
the National curriculum authority via listening, composing, and performing, with
direction in allowing teachers to develop and orchestrate holistic learning, teaching,
and the attainment and demonstration of knowledge and skills. Fautley offers hard
and compelling evidence of current practices informed by Ofsteds compulsion in
measuring the progress of student learning over arbitrary and limiting timespans.
Fautley discusses the constraints this causes to the core of what music/arts education
can nurture and develop in students, and the damage caused upon existing sequential
learning outcomes, and indeed its alarming effect on teachers in the UK. This chapter
outlines dramatic curricular, pedagogical, educational and cultural value issues
imbued within a neoliberalist agenda in governments, schools and audit inspectors
that make the misguided conception that creative activity, nor procedural learning
does not count as learning.
Sharon Lierse in Chapter 12 investigates the development of an online unit
of work with an Australian university, and the transformative impact this had on
effectively teaching creativity within an arts education course to pre-service early and
primary years arts education undergraduates. The utilization of Participatory Action
Research saw a cyclic development of planning, acting, observing, reflecting and
re-adjustment. Innovative student feedback through online video, audio collaborate
sessions, and emails revealed growing pre-service-teacher conceptualisations of ‘art’
and heightened confidence when attempting to be creative.
Elizabeth Dobson offers the concept of ‘digital audio ecofeminism (DA’EF) in
Chapter 13, describing the ecofeminist priorities of these women’s music-making
groups, documenting how they enable learning, knowledge and power-sharing/
shifting in ways that challenge capitalism across a range of music technology and
production industries. Dobson shares insights into five DA’EF musical communities

7
Other documents randomly have
different content
Where is Boy Blue?
Boy Blue, are you asleep?
Where are you, Boy Blue?
Oh, there you are! I see you.
You are under the big haystack.
Come to my birthday party, Boy Blue.

Mother made me a big birthday cake.

She made two little cakes.
One is for you, Boy Blue.
The other is for Lady Doll.
Here, Boy Blue! This is for you.
There, Lady Doll! That is your cake.
Down, Rover! Down!
Here is some cake for you.
This cake is for Pussy Cat.

“Look, Mary!” said Grandma.

“This is the way to weave.
Weave over and under.
Weave round and round.
Take the basket, Mary.
You may weave it.”
After a time Mary said,
“Here is my basket.
See, Grandma! Isn’t it a pretty one?

This is Father’s birthday, Grandma.

I made this basket for his birthday.
Father will like my pretty basket.”
“Come to the meadow,” said Grandma.
“We will get some flowers.
You can put them in your basket.”

“Oh, Grandma! See all the pretty flowers!

Here are red flowers, and yellow flowers, and blue
flowers.
Dear little yellow flowers,
I will put you into my basket.
Dear little blue flowers,
I will put you into my basket.
Father loves all the pretty flowers.
This basket is for his birthday.”
 THE BRAMBLE BUSH
Here we go round the bramble bush,
The bramble bush, the bramble bush;
Here we go round the bramble bush
On a cold and frosty morning!
This is the way we wash our clothes,
Wash our clothes, wash our clothes;
This is the way we wash our clothes
On a cold and frosty morning!

This is the way we dry our clothes,

Dry our clothes, dry our clothes;
This is the way we dry our clothes
On a cold and frosty morning!

This is the way we iron our clothes,

Iron our clothes, iron our clothes;
This is the way we iron our clothes
On a cold and frosty morning!

This is the way we bake our bread,

Bake our bread, bake our bread;
This is the way we bake our bread
On a cold and frosty morning!

This is the way we sweep the house,

Sweep the house, sweep the house;
This is the way we sweep the house
On a cold and frosty morning!
 ACTION SENTENCES

Play “Here we go round the bramble bush.”

Go round and round.
Wash the clothes.
Dry the clothes.
Get the basket.
Put the clothes in the basket.
Iron the clothes.
Plant the wheat.
Take the wheat to the mill.
Grind the wheat.
Bake the bread.
Get the broom.
Sweep the house.
Put the broom away.

How do you do, Mary?

I have come to play with you.
How do you do, Helen?
I can not come out to play.
This is my wash day.
I am washing Lady Doll’s clothes.
You may help me, Helen.
You may wash Lady Doll’s clothes.
I will wash Boy Blue’s clothes.

This is the way we dry our clothes.

Put Lady Doll’s clothes on that bush.
I will put Boy Blue’s clothes here.
The warm sun will dry them.
The wind will help.
By and by they will be dry.
Then we will iron our clothes.
The clothes are dry, Helen.
Put the clothes in this basket.
Grandma and I made this basket.
We will take the clothes to the playhouse.
Then we will iron them.
Do you know how to iron, Helen?
See! This is the way to iron.
You may iron Boy Blue’s clothes.
I will iron Lady Doll’s clothes.

Little Jack Frost went up the hill.

“See!” said little Jack Frost.
“I will turn the trees red, yellow and brown.”
Little Jack Frost went into the woods.
“There!” said little Jack Frost. “The nuts are ripe.”
Little Jack Frost went over the meadow.
“It is cold,” said the grass and the flowers.
“Go to sleep,” said little Jack Frost.
The snow will keep you warm.
Look! Down comes the white snow.
“It is warm, so warm,” said the grass and the
flowers.
“Good-by, little Jack Frost! Good-by!”

“Come to the window,” said Father.

“Here are some snow stars.
Catch them if you can.”
“I can catch them,” said Mary.
“See, I have some snow stars.
They are on my dress.
How pretty they are!”
“Look at the snow stars,” said Father.
“Can you see the points?”
“I see six points,” said John.
“Yes,” said Father.
“Every snow star has six points.”
Blow, wind, from the north.
Blow the pretty, white snow.
Blow, wind, from the south.
Blow the birds and flowers.
Blow, wind, from the east.
Blow rain for the wheat.
Blow, wind, from the west.
Blow the nuts from the trees.

Point to the north.

Point to the south.
Point to the east.
Point to the west.
What can the north wind do?
What can the south wind do?
What can the east wind do?
What can the west wind do?
Good morning, bright Sun!
I see you over the hill-top.
You are big and round and yellow.
I love you, bright Sun!
You are warm, so warm that Baby can go out to
play.
Little Jack Frost will run away.
North Wind will not blow to-day.
Come over the hill-top, bright Sun.
Baby and I will go out to play.

Good night, dear Sun.

Thank you for a pleasant day.
Baby is asleep in her cradle.
Rover is asleep in the barn.
The pretty flowers are asleep.
They are under the soft, warm snow.
The little birds are far away.
Do they sing to you in the south?
Where do you sleep, dear Sun?
Do you sleep behind the hill-top?
Good night! I am going to sleep.
Come again in the morning.
Good night, dear Sun! Good night!
REFERENCES TO THE MANUAL.
Primer Manual
Page Page
5 Run. Jump. Hop 28
6 Run and jump 31
7 I can sing 32
8 Can you sing? 34
9 I have a dog 34
15 Apostrophe s (’s) 69
19 I see a little girl 41
21 Play you are blackbirds 42
22 Two little blackbirds 43
24 See-saw 47
26 Rock-a-by, baby 45
31 Little Robin Redbreast 51
43 Do you know how the farmer? 52
45 Do you know? 52
45 Observation Game 52
48 Blow, wind! Blow! 52
62 The Rain 53
72 Greeting 53
80 With a “Baa! Baa!” 53
WORD LIST
5 sing
run
jump
hop
6 and
7 I can
Rover
Kitty
8 see
you
the bird
9 a dog
have
to
me
10 like
pretty
fly
11 boys
girls
little
may
12 ball
roll
catch
13 play
with
baby
it
14 sister
has
blue
eyes
15 Mary
this
is
16 John
brown
big
17 what
do
18 my
doll
she
19 dress
named
he
20 frog
come
21 black
are
22 (In Rhyme)
two
sat
upon
hill
one
was
Jack
other
Jill
away
again
23 they
24 (In Rhyme)
saw
here
we
go
down
way
town
25 father
oh
fun
26 (In Rhyme)
rock-a-by
tree-top
in
when
wind
blows
cradle
will
bough
breaks
fall
all
27 nest
not
28 mother
sleep
dear
29 make
her
30 (In Rhyme)
Robin
 Redbreast
Pussy Cat
went
ran
said
if
31 look
tell
at
32 song
your
33 three
of
eggs
34 for
am
35 get
put
36 (In Rhyme)
Hickory
Dickory
Dock
mouse
clock
struck
37 tick-tock
time
38 nut
then
39 plant
grow
be
40 squirrel
round
41 some
eat
43 (In Rhyme)
know
how
farmer
corn
field
reaps
his
takes
mill
miller
grinds
44 sun
rain
45 no
yes
46 help
Helen
47 an ear
yellow
48 (In Rhyme)
that
send
us
hot
morn
baker
49 hear
50 clip-clap
turn
morning
51 grandpa
 fast
good
52 kite
made
over
53 high
as
54 (In Rhyme)
pat-a-cake
bake
man
just
mark
B
56 then
57 call
58 (In Rhyme)
Peep
wades
water
climbs
hillside
deep
poor
but
59 star
so
60 too
61 going
bow-wow
meow
who
62 (In Rhyme)
umbrellas
 raining
around
ships
sea
63 pitter-patter
green
grass
out
64 keep
dry
65 day
grandma
house
66 (In Rhyme)
thank
pleasant
cow
milk
soak
bread
every
night
warm
sweet
pure
white
67 drink
says
68 things
love
69 churn
cream
butter
70 (In Rhyme)