Education Journal

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Artists and Higher Education Partnerships: A Living Enquiry

Received: 15 December 2014    Accepted: 12 April 2015    Published: 05 May 2015
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Abstract

In this article our central argument is that we should be promoting creative education and that this is a necessity, not an option. How creative education is applied by and to different individuals, groups of people, in different communities, institutions and societies, historically and culturally, is dependent on how the term ‘creativity’ is grounded, politicised, and practised. We are told that we need new thinking in the current world crises of economics and global environmental concerns. We are also told that in education, a new critically reflexive form of creativity is in order to address the task of the age of reconciling the need for a stable, safe, ethical and empathetic world within which a productive, adaptive and innovative workforce can operate. In this article we make a case and provide evidence from several projects for how artists-in-residence transform higher education and provide teachers and learners an excellent resource for exploring a creative paradigm to guide pedagogic practices.

DOI 10.11648/j.edu.20150403.12
Published in Education Journal (Volume 4, Issue 3, May 2015)
Page(s) 98-105
Creative Commons

This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.

Copyright

Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Creativity, Artist-In-Residence, Creative Higher Education, Teaching Method Meets Art

References
[1] British Association for Counselling & Psychotherapy (BACP) (2012) Ethical Framework for Good Practice in Counselling and Psychotherapy. Lutteworth: British Association for Counselling & Psychotherapy (BACP)
[2] Barone, T. & Eisner, E. (2012) Arts Based Research London: Sage
[3] Burnard, P., &Swann, M., (2010). Pupil perceptions of learning with artists: a new order of experience? Thinking Skills and Creativity. 5, 70–82. doi:10.1016/j.tsc.2010.01.001
[4] Damasio, A. (2012) Self Comes to Mind: Constructing the Conscious Brain. London: Vintage Books.
[5] Freire, P. (1996). Pedagogy of the Oppressed. (M. B. Ramos, Trans.) (2Rev Ed edition.). Penguin.
[6] Kemmis, S., &McTaggart, R. (2005). Participatory action research: communicative action and the public sphere. In N. K. Denzin& Y. S. Lincoln (Eds.), The SAGE Handbook of Qualitative Research (pp. 559–605). SAGE.
[7] Lakoff, G. & Johnson, M. (1980). Metaphors we live by. Chicago: University of Chicago Presshttp://leverhulme.ac.uk/awards/AIR.cfm
[8] Miles, A., & Clarke, R. (2006). The arts in criminal justice: a study of research feasibility. London. Retrieved from https://www.escholar.manchester.ac.uk/uk-ac-man-scw:71207
[9] Johnson, M. & Lakoff, G. (2006) Why Cognitive Linguistics Requires Embodied Realism. Cognitive Linguistics, 13(3), pp. 215-324. Retrieved 8 Dec. 2012, from doi:10.1515/cogl.2002.016.
[10] Wenger, E. (1998) Communities of practice: Learning, meaning and identity. New York: Cambridge University Press.
[11] Klein quote sourced from www.researchcatalogue.net/portal/search-result?fulltext=julian+klein
[12] Vital Communities reference http://www.artscouncil.org.uk/funded-projects/case-studies/vital-communities-east-england/
[13] Stern, D. (1998) The Interpersonal World of the Infant. London Karnac Books.
[14] Taylor, S. & Littleton, K. (2012) Contemporary Identities of Creativity and Creative Work. Farnham, Surrey: Ashgate.
[15] Bennett, D., & Burnard, P. (2015) The development and impact of human capital creativities on higher education graduates: Lessons underpinned by the contribution of Bourdieu. In R. Comunian & A. Gilmore (Eds.(Beyond the Campus: Higher Education and the Creative Economy. London: Routledge.
[16] Hesmondhalgh, D., & Baker, Sarah (2011) Creative Labour: Media Work in Three Cultural Industries. London: Routledge.
Author Information
  • Faculty of Education, University of Cambridge, Cambridge, UK

  • Faculty of Education, University of Cambridge, Cambridge, UK

  • Faculty of Education, University of Cambridge, Cambridge, UK

  • Faculty of Education, University of Cambridge, Cambridge, UK

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  • APA Style

    Pam Burnard, Carol Holliday, Susanne Jasilek, Afrodita Nikolova. (2015). Artists and Higher Education Partnerships: A Living Enquiry. Education Journal, 4(3), 98-105. https://doi.org/10.11648/j.edu.20150403.12

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    ACS Style

    Pam Burnard; Carol Holliday; Susanne Jasilek; Afrodita Nikolova. Artists and Higher Education Partnerships: A Living Enquiry. Educ. J. 2015, 4(3), 98-105. doi: 10.11648/j.edu.20150403.12

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    AMA Style

    Pam Burnard, Carol Holliday, Susanne Jasilek, Afrodita Nikolova. Artists and Higher Education Partnerships: A Living Enquiry. Educ J. 2015;4(3):98-105. doi: 10.11648/j.edu.20150403.12

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  • @article{10.11648/j.edu.20150403.12,
      author = {Pam Burnard and Carol Holliday and Susanne Jasilek and Afrodita Nikolova},
      title = {Artists and Higher Education Partnerships: A Living Enquiry},
      journal = {Education Journal},
      volume = {4},
      number = {3},
      pages = {98-105},
      doi = {10.11648/j.edu.20150403.12},
      url = {https://doi.org/10.11648/j.edu.20150403.12},
      eprint = {https://download.sciencepg.com/pdf/10.11648.j.edu.20150403.12},
      abstract = {In this article our central argument is that we should be promoting creative education and that this is a necessity, not an option. How creative education is applied by and to different individuals, groups of people, in different communities, institutions and societies, historically and culturally, is dependent on how the term ‘creativity’ is grounded, politicised, and practised. We are told that we need new thinking in the current world crises of economics and global environmental concerns. We are also told that in education, a new critically reflexive form of creativity is in order to address the task of the age of reconciling the need for a stable, safe, ethical and empathetic world within which a productive, adaptive and innovative workforce can operate. In this article we make a case and provide evidence from several projects for how artists-in-residence transform higher education and provide teachers and learners an excellent resource for exploring a creative paradigm to guide pedagogic practices.},
     year = {2015}
    }
    

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    AB  - In this article our central argument is that we should be promoting creative education and that this is a necessity, not an option. How creative education is applied by and to different individuals, groups of people, in different communities, institutions and societies, historically and culturally, is dependent on how the term ‘creativity’ is grounded, politicised, and practised. We are told that we need new thinking in the current world crises of economics and global environmental concerns. We are also told that in education, a new critically reflexive form of creativity is in order to address the task of the age of reconciling the need for a stable, safe, ethical and empathetic world within which a productive, adaptive and innovative workforce can operate. In this article we make a case and provide evidence from several projects for how artists-in-residence transform higher education and provide teachers and learners an excellent resource for exploring a creative paradigm to guide pedagogic practices.
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