We are pleased to inform you that the latest issue of The Canadian Review of Art Education: Research and Issues, Vol 46, no.2 (2019) is now available at: http://crae.mcgill.ca/ C’est avec grand plaisir que nous vous informons que le dernier numéro de la Revue canadienne d’éducation artistique : recherche et enjeux, Vol 46, no. 2 (2019) est maintenant disponible à l’adresse : http://crae.mcgill.ca/
It is with great sadness that we announce the passing of Dr Carl Leggo on March 7th, 2019. The CSEA/SCEA sends sincere condolences to his family, friends, students and colleagues. His influence and knowledge will reverberate through our halls infinitely.
Originally from Corner Brook, Newfoundland, Carl was an accomplished poet and scholar. A professor in the Department of Language and Literacy Education at the University of British Columbia, he was renowned for his dedication to living poetically.
His research pursuits included: life writing, a/r/tography, narrative inquiry, poetic inquiry, creative writing, contemplative practices, and arts-based research. He will be sorely missed.
in the beginning is
the spoken word written
the written word spoken
the word born in the world
the world born in the word
the word is worldly
the world is wordy
the word is in the world
the world is in the word
the word is the world
the world is the word
in the end is
(Leggo, 2012, p. 1)
Leggo, C. (2012). Sailing in a concrete boat. SensePublishers, Rotterdam.
Canadian Art Teacher/Enseigner les arts au Canada (CAT)
Call for Papers
About Canadian Art Teacher
The Canadian Art Teacher/Enseigner les arts au Canada (CAT) is peer-reviewed and published semi-annually by the Canadian Society for Education through Art. The goal of the journal is to enable the exchange of exciting teaching ideas, to disseminate novel art education research, and to discuss pertinent issues in the field. Readers and contributors include artists, educators, and researchers interested in teaching and learning in the visual arts.
CAT wants to hear from you!
We invite submissions from art or design educators (as well as those working in related fields such as architecture) in all sectors working with diverse publics: museum and galleries; schools; community contexts; and post-secondary education. Artists whose practices include pedagogical aspects are welcome.
We are seeking contributors that touch on various areas related to art education and may be either theoretical or practical in nature. Submissions may include scholarly research papers; reports; creative content such as photo essays; reviews of books (academic, children’s, or art), exhibitions, or resources; and lesson/project ideas.
Guidelines for Submission
- Manuscripts may be in English, French, or Indigenous languages and be 3000 to 6000 words in length, including references (style should adhere to APA citation guidelines).
- Manuscripts must be original content and not published or submitted elsewhere.
- Visual materials, whether as illustrations or the central focus, are encouraged (particularly for shorter manuscripts). All artwork and images must be of high resolution (minimum 300 dpi) and accompanied by appropriate credits, permissions, and copyright.
- ~200-word abstract/expression of interest (appreciated but not required): February 1, 2019
- Full manuscript: March 15, 2019
Please direct all inquiries and submissions to
Artwork Histories: Transnational Perspectives in Art Education (Working Title)
Dustin Garnet (California State University, Los Angeles)
& Anita Sinner (Concordia University)
Art education holds an important role in promoting historical awareness of the multiple relations that connect pedagogic inquiry with culture, heritage, place and identity, locally and globally. In our ongoing efforts to keep step with the movements of art and society, we believe art education requires more inclusive and holistic versions of history from transnational perspectives that break down barriers and cross borders in the pursuit of more informed and diverse understandings of the field.
Inspired by Munslow (2010), we invite submissions that adapt an approach of ‘artwork histories’ to explore the legacies of art education as an anticipatory mode of historical thinking and practice across the arts and across sites of learning. Acclaimed historian Hayden White (1973) described history as “a narrative discourse the content of which is as much imagined as found” (p. 82). Artwork Histories offers an opportunity for authentic engagement and intellectual risk, which includes the rejection of ‘correct’ interpretations of historical problems. As active agents, art education historians are not passive collectors of the past, but engaged in new ways of doing history predicated on cultivating stories that move beyond representation to attend to aesthetic dimensions that bridge historiography, material culture, oral history, art history, and teacher education. This edited collection will provide an interpretation of ‘historical thinking and historical consciousness’ (Seixas, 2017) through the interrelations of time (past, present, future) and space (geographic location, orientation, connectivity beyond borders) as we move towards what Seixas describes as coherent and interwoven historical approaches in an effort to provoke critical and creative practices in education.
We seek research that conceptualizes the entanglements of historical research in art education in a globalized society (Knudsen & Gram-Skjoldager, 2014; Larson, 2018). We encourage proposals that explore linkages and flows that shift from the nation-state to transnational actors: individuals, communities, institutions, and/or organizations. Five strands weave this collection, with a host of potential subject areas, including but not limited to the following:
- Emergent Historical Approaches (methodological fluidity, epistemological deliberations, conceptualising transdisciplinary, limits of historical inquiry)
- People in Relation to Art Education (issues, events, memory studies and/or first-person accounts of war, trauma, social justice, LGBTQ+, dis/ability as new forms of belonging)
- Studies of Places and Things (object-biographies, architecture, spatial design, universal design, and archives)
- Communities of Art Education (socially-engaged art, artist collaborations, collectives, interrogating national art education narratives)
- Institutions and Organizations (universities, museums, schools, community associations)
We welcome essays that bring forward anticipatory modes of thinking and practice, as well as multiple forms of archival research, and creative renderings of historical research, such as stories, visual essays, poetic expression and more.
Please send a chapter proposal of 500 words, identifying the topic area of your chapter, along with select references and brief bios of authors (50 words) by December 1st, 2018 to email@example.com and firstname.lastname@example.org.
Invitations to submit full chapters will be sent out January 2019.
Knudsen, A. C., & Gram-Skjoldager, K. (2014). Historiography and narration in transnational history. Journal of Global History, 9(1), 143–161.
Larsen, M. A. (2018). The possibilities and potential of transnational history: A response to Kazamias’ call for historical research. European Education, 50(2), 101-115. doi: <ahref=”https://doi.org/10.1080/10564934.2018.1454261″>10.1080/10564934.2018.1454261
Munslow, A. (2010). The future of history. Basingstoke, United Kingdom: Palgrave Macmillan.
Seixas, P. (2017). A model of historical thinking. Educational Philosophy and Theory, 49(6), 593-605.
White, H. (1973). Metahistory: The historical imagination in nineteenth century Europe. Baltimore, MD: John Hopkins University Press.