Gamelan and American academic institutions have maintained their close association for more than sixty years. Elizabeth A. Clendinning illuminates what it means to devote one’s life to world music ensemble education by examining the career and community surrounding the Balinese-American performer and teacher I Made Lasmawan. Weaving together stories of Indonesian and American practitioners, colleagues, and friends, Clendinning shows the impact of academic world music ensembles on the local and transnational communities devoted to education and the performing arts. While arguing for the importance of such ensembles, Clendinning also spotlights how performers and educators use them to create stable and rewarding artistic communities. Cross-cultural ensemble education emerges as a worthy goal for students and teachers alike, particularly at a time when people around the world express more enthusiasm about raising walls to keep others out rather than building bridges to invite them in.

Six years after its initial publication, Applied Theatre returns with a second edition. As the first book to assist practitioners and students to develop critical frameworks for implementing their own theatrical projects, it served as a vital addition to this area of growing international interest, winning the Distinguished Book of the Year award from the American Alliance for Theatre and Education.

Editors Monica Prendergast and Juliana Saxton have updated the book to reflect shifts in practice over the last few years in the world of applied theater. With their background in drama education and pedagogy, the contributors offer introductory chapters and dozens of case studies on applied theater projects around the globe. This new edition of Applied Theatre will encourage students and practitioners to acquire a deeper, more concrete understanding of the field and its best practice.

From 2012-2015 (as part of the Mellon-funded SPARC project), the A2RU research team interviewed upper-level administration, faculty, and students at 38 member institutions about the impact of their arts-integration initiatives, including teaching, research, and community projects. We asked about what impact they hoped for and what impact they actually saw. The Impacts Map is a graphic representation of the categories of impact we surfaced, and a framework and logic model for connecting impacts across domains.

This arresting graphic provides a visual overview of the impacts of arts integration and interdisciplinarity in the university. It can be a tool for case-making, communication, and further inquiry.

From 2012-2015 (as part of the Mellon-funded SPARC project), the A2RU research team interviewed upper-level administration, faculty, and students at 38 member institutions about the impact of their arts-integration initiatives, including teaching, research, and community projects. We asked about what impact they hoped for and what impact they actually saw. The Impacts Map is a graphic representation of the categories of impact we surfaced, and a framework and logic model for connecting impacts across domains.

This arresting graphic provides a visual overview of the impacts of arts integration and interdisciplinarity in the university. It can be a tool for case-making, communication, and further inquiry.

This listing is for a pack of 12 maps.

From 2012-2015 (as part of the Mellon-funded SPARC project), the A2RU research team interviewed upper-level administration, faculty, and students at 38 member institutions about the impact of their arts-integration initiatives, including teaching, research, and community projects. We asked about what impact they hoped for and what impact they actually saw. The Impacts Map is a graphic representation of the categories of impact we surfaced, and a framework and logic model for connecting impacts across domains.

This arresting graphic provides a visual overview of the impacts of arts integration and interdisciplinarity in the university. It can be a tool for case-making, communication, and further inquiry.

This listing is for a pack of 5 maps.

Arts Integration in Education is an insightful, even inspiring investigation into the enormous possibilities for change that are offered by the application of arts integration in education. Presenting research from a range of settings, from preschool to university, and featuring contributions from scholars and theorists, educational psychologists, teachers, and teaching artists, the book offers a comprehensive exploration and varying perspectives on theory, impact, and practices for arts-based training and arts-integrated instruction across the curriculum.

The Case for Arts Integration is a tool for connecting across campus, outlining the “what,” “why,” and “how” of arts integration. While this book shows how arts integration can function on campus, and its range of impacts, the case it makes is broad and all-encompassing. On many campuses, a few faculty or staff are champions of arts integration. This book is designed to help them build broader support for arts integration at many levels, including among university leadership. Each university will want to define what arts integration looks like for them and how it fits into their unique cultural landscape.

Like all A2RU’s programs, The Case for Arts Integration is grounded in research and developed through integration and synthesis. This resource supports the work of arts integration on-campus, and draws on insights gathered from over 600 interviews with academic leaders, institutional officers, faculty, staff, and students at over 60 research universities. The A2RU research team systematically reviews these insights for evidence of the positive impacts, successful patterns, best practices, recurring challenges, and salient stories of arts integration.

A companion workbook, The Case for Arts Integration: Workbook, is also available as a hands-on tool designed to help you map how the arts and arts integration advances your university’s mission.

This workbook provides an introduction to the insights and questions commonly encountered by A2RU and its research university partners. The goal is to help enable better sensemaking and case-making activities around arts integration, what it means, and how it will unfold on your campus.

This workbook is designed to help you in case-making, developing a workshop, or as a common framework for benchmarking. Properly applied, the workbook will save weeks of work, provide structure and clarity for your group’s work, accelerate your ability to assemble exemplary case-making materials, and raise the quality of your messaging.

This workbook is a companion to The Case for Arts Integration book, which is recommended as a reference and source of inspiration.

The “southern” – as much a Hollywood genre as the “western” – is the subject of The Celluloid South. For decades the film industry, to provide profit-making entertainment, offered the public movies that neither raised difficult issues nor offended a majority of the ticket-buyers. As a result, Hollywood romanticized the south, particularly the antebellum era, in hundreds of films like Uncle Tom’s Cabin, Gone With the Wind, Birth of a Nation, and Jezebel. During the 1920’s and especially the Depression, the “moonlight and magnolia” romances increased to such an extent that Hollywood has been struggling since the late forties to rid films of the traditional images of the “southern.”

In his exploration of the “southern,” Edward D.C. Campbell, Jr. examines the film plots and images – their social, literary, and historical origins, and their impact on the creation of a popular mythology of the south. The unrealistic but seemingly harmless characterizations of a planter society, and agricultural economy, and especially slavery have hindered the region’s self-assessment and warped the nation’s perspective on race.

Campbell looks beyond the productions themselves, however, to advertising techniques and the reactions of the viewers and reviewers in his examination of the “southern,” its popularity and its decline, and its influence of the public’s conception of history, contemporary conditions, and black/white relations.

The Celluloid South is not a study of film per se, but of film as a reflection of society and the ramifications inherent in popular entertainment. Readers interested in southern history, popular culture, or cinema studies, as well as movie fans, will find The Celluloid South a fascinating look at Hollywood’s development of the southern myth. Thirty-one film stills illustrate the text.

Dancing Bahia is an edited collection that draws together the work of leading scholars, artists, and dance activists from Brazil, Canada, and the United States to examine the particular ways in which dance has responded to socio-political notions of race and community, resisting stereotypes, and redefining African Diaspora and Afro-Brazilian traditions.

Using the Brazilian city of Salvador da Bahia as its focal point, this volume brings to the fore questions of citizenship, human rights, and community building. The essays within are informed by both theory and practice, as well as black activism that inspires and grounds the research, teaching, and creative output of dance professionals from, or deeply connected to, Bahia.

John Dewey is known as a pragmatic philosopher and progressive architect of American educational reform, but some of his most important contributions came in his thinking about art.
          Dewey argued that there is strong social value to be found in art, and it is artists who often most challenge our preconceived notions. Dewey for Artists shows us how Dewey advocated for an “art of democracy.” Identifying the audience as co-creator of a work of art by virtue of their experience, he made space for public participation. Moreover, he believed that societies only become—and remain—truly democratic if its citizens embrace democracy itself as a creative act, and in this he advocated for the social participation of artists.
          Throughout the book, Mary Jane Jacob draws on the experiences of contemporary artists who have modeled Dewey’s principles within their practices. We see how their work springs from deeply held values. We see, too, how carefully considered curatorial practice can address the manifold ways in which aesthetic experience happens and, thus, enable viewers to find greater meaning and purpose. And it is this potential of art for self and social realization, Jacob helps us understand, that further ensures Dewey’s legacy—and the culture we live in.

Dialogue is the ongoing series of fully open-access proceedings of the conferences and national symposia of the AIGA Design Educators Community (DEC). Issues of Dialogue contain papers from DEC conferences that focus on topics affecting design education, research, and professional practice, although each conference varies in theme. Michigan Publishing, the hub of scholarly publishing at the University of Michigan, publishes Dialogue on behalf of the AIGA DEC. 

Dialogue is the ongoing series of fully open access proceedings of the conferences and national symposia of the AIGA Design Educators Committee.

Although each conference varies in theme, issues of Dialogue contain papers from DEC conferences which focus on topics that affect design education, research, and professional practice.

Michigan Publishing, the hub of scholarly publishing at the University of Michigan, publishes Dialogue on behalf of the AIGA DEC.

Humanities scholars, in general, often have a difficult time explaining to others why their work matters, and eighteenth-century literary scholars are certainly no exception. To help remedy this problem, literary scholars Bridget Draxler and Danielle Spratt offer this collection of essays to defend the field’s relevance and demonstrate its ability to help us better understand current events, from the proliferation of media to ongoing social justice battles. 

The result is a book that offers a range of approaches to engaging with undergraduates, non-professionals, and broader publics into an appreciation of eighteenth-century literature. Essays draw on innovative projects ranging from a Jane Austen reading group held at the public library to students working with an archive to digitize an overlooked writer’s novel. 

Reminding us that the eighteenth century was an exhilarating age of lively political culture—marked by the rise of libraries and museums, the explosion of the press, and other platforms for public intellectual debates—Draxler and Spratt provide a book that will not only be useful to eighteenth-century scholars, but can also serve as a model for other periods as well. This book will appeal to librarians, archivists, museum directors, scholars, and others interested in digital humanities in the public life. 

Contributors: Gabriela Almendarez, Jessica Bybee, Nora Chatchoomsai, Gillian Dow, Bridget Draxler, Joan Gillespie, Larisa Good, Elizabeth K. Goodhue, Susan Celia Greenfield, Liz Grumbach, Kellen Hinrichsen, Ellen Jarosz, Hannah Jorgenson, John C. Keller, Naz Keynejad, Stephen Kutay, Chuck Lewis, Nicole Linton, Devoney Looser, Whitney Mannies, Ai Miller, Tiffany Ouellette, Carol Parrish, Paul Schuytema, David Spadafora, Danielle Spratt, Anne McKee Stapleton, Jessica Stewart, Colleen Tripp, Susan Twomey, Nikki JD White, Amy Weldon

The Exposition of Artistic Research: Publishing Art in Academia introduces the pioneering concept of ‘expositions’ in the context of art and design research, where practice needs to be exposed as research to enter academic discourse. It brings together reflective and methodological approaches to exposition writing from a variety of artistic disciplines including fine art, music and design, which it links to questions of publication and the use of technology. The book proposes a novel relationship to knowledge, where the form in which this knowledge emerges and the mode in which it is communicated makes a difference to what is known.

 

This inspirative and hopeful collection demonstrates that the arts and humanities are entering a renaissance that stands to change the direction of our communities. Community leaders, artists, educators, scholars, and professionals from many fields show how they are creating responsible transformations through partnership in the arts and humanities. The diverse perspectives that come together in this book teach us how to perceive our lives and our disciplines through a broader context. The contributions exemplify how individuals, groups, and organizations use artistic and humanistic principles to explore new structures and novel ways of interacting to reimagine society. They refresh and reinterpret the ways in which we have traditionally assigned space and value to the arts and humanities.

Disability studies have long been the domain of medical and pedagogical academics. However, in recent years, the subject has outgrown its clinical origins. In Freaks of History, James MacDonald presents two dramatic explorations of disability within the wider themes of sexuality, gender, foreignness, and the other. Originally directed by Martin Harvey and performed by undergraduate students at the University of Exeter, Wellclose Square and Unsex Me Here analyze cultural marginalization against the backdrop of infamous historical events.
            MacDonald, who is cerebral palsied, recognizes that disability narratives are rarely written by and for disabled people. Therefore his plays, accompanied by critical essays and director’s notes, are a welcome addition to the emerging discourse of Crip theory, and essential reading for disability students and academics alike.

In Hip-Hop Civics, Jabari Evans demonstrates how Hip-Hop can be deployed in revamping formal civic education for Black and Brown youth. Based on an original ethnographic study of a Hip-Hop-based education program, the Songwriting and Production Program (SWP), administered by the Foundation of Music in two of Chicago’s lowest performing public schools, Evans argues that Hip-Hop culture is central to students’ lives and can be used as a vehicle for students to engage in civic practices and extract critical lessons about mainstream media, relational currency, identity development, and race/racism within the classroom. Through a compelling exploration of the SWP program, Evans contends that Hip-Hop should be part of formal education spaces and instruction, a conclusion he reaches through his understanding of how Hip-Hop impacted his own life, and by witnessing students discuss, write, and produce Hip-Hop music as part of the SWP program. 
 

Through archival research and analysis of artworks by Gyorgy Kepes, Allan Kaprow, Mel Bochner, and Suzanne Lacy, among others, Intelligent Action examines how these artists brought alternatives to dominant conceptions of research and knowledge production. The book is organized around specific institutional formations—artistic research centers, proposals, exhibitions on college campuses, and the establishment of new schools or pedagogic programs. Formal and social analysis demonstrate how artists responded to ideas of research, knowledge production, information, and pedagogy. Works discussed were produced between 1958 and 1975, a moment when boundaries between media were breaking down in response to technological, cultural, and generational change. In the context of academia, these artistic practices have taken up the look, feel, or language of various research and teaching practices. In some cases, artists bent to the demands of the cold war research university, while in others, artists developed new modes of practice and pedagogy. Reading these works through their institutional histories, author Tim Ridlem shows how artistic research practices and artistic subjectivity developed in the long 1960s within and alongside academia, transforming the role of artists in the process.

Following the first collection of story drama structures, Into the Story 2: More Stories! More Drama! presents a well-argued approach to the value of children’s picture books as a way to look at contemporary issues of social justice while building connections that promote a literacy that is multi-dimensional. Story drama structures offer teachers opportunities for the rich conversations and deep reflections that foster habits of mind critical for life in the twenty-first century. This new volume, piloted internationally over the last decade, will become an invaluable resource for uncovering curricula in ways that are fresh and innovative for students and teachers of all levels.

Collage making offers everyone from small children to trained artists the ability to express themselves through images. In this new Common Threads collection, Jorge Lucero draws on the archive of the journal Visual Arts Research to present articles focused on the place of collage in fine art and education. Guided by the twinned concepts of mereness --collage's reputation as a trifle--and easiness --the technique's accessibility to all--the authors explore how subversive, debased, and effortless the collage gesture can be. What emerges is in and of itself a collage, one that groups disparate scholarship into a whole that reveals how the technique may serve as a method of scholarship and as a wellspring of vibrant, even radical, pedagogical utility. Contributors: Michael Biggs, Ian Buchanan, Daniela Büchler, Paul Duncum, Charles R. Garoian, Kit Grauer, Anniina Suominen Guyas, Kathleen Keys, Jorge Lucero, Dan Nadaner, Ryan Patton, Janet N. Stevenson, Robert W. Sweeny, and Stuart Thompson.

The Alliance for the Arts in Research Universities (A2RU) fosters and champions the role of the arts and design in research universities. Underpinned by research and synthesis, our mission is connected knowledge and empowered leadership — to uphold and advance the arts and design in research, teaching, scholarship, and creative practice.

Learn more online at a2ru.org about A2RU programs, alliance partners, and how to become an A2RU partner. Discover insights and tools to support the arts and design in research universities. You can also search and browse A2RU conference abstracts, working session captures, and a wide array of supporting materials from A2RU and its alliance partnerships.

From the success of Matilda on Broadway to the 2015 revival of Annie in movie theaters, it’s clear that theater with and for young people has widespread and enduring appeal. Despite this, there is no contemporary guide designed for playwriting for youth in professional and educational contexts.

In Playwriting and Young Audiences, Matt Omasta and Nicole B. Adkins put this right. Providing a range of perspectives, the book collects the practical advice and wisdom of seventy-five artists and practitioners. It is a deeply poignant account of those who have dedicated their lives to work that applauds the dignity and depth of young people.

Popular American fiction has now secured a routine position in the higher education classroom despite its historic status as culturally suspect. This newfound respect and inclusion have almost certainly changed the pedagogical landscape, and Teaching Tainted Lit explores that altered terrain. If the academy has historically ignored, or even sneered at, the popular, then its new accommodation within the framework of college English is noteworthy: surely the popular introduces both pleasures and problems that did not exist when faculty exclusively taught literature from an established “high” canon. How, then, does the assumption that the popular matters affect teaching strategies, classroom climates, and both personal and institutional notions about what it means to study literature?

The essays in this collection presume that the popular is here to stay and that its instructive implications are not merely noteworthy, but richly nuanced and deeply compelling. They address a broad variety of issues concerning canonicity, literature, genre, and the classroom, as its contributors teach everything from Stephen King and Lady Gaga to nineteenth-century dime novels and the 1852 best-seller Uncle Tom’s Cabin.

It is no secret that teaching popular texts fuels controversies about the value of cultural studies, the alleged relaxation of aesthetic standards, and the possible “dumbing down” of Americans. By implicitly and explicitly addressing such contentious issues, these essays invite a broader conversation about the place of the popular not only in higher education but in the reading lives of all Americans.

How do students develop a personal style from their instruction in a visual arts program? Women Artists on the Leading Edge explores this question as it describes the emergence of an important group of young women artists from an innovative post-war visual arts program at Douglass College.

The women who studied with avant-garde artists at Douglas were among the first students in the nation to be introduced to performance art, conceptual art, Fluxus, and Pop Art. These young artists were among the first to experience new approaches to artmaking that rejected the predominant style of the 1950s: Abstract Expressionism. The New Art espoused by faculty including Robert Watts, Allan Kaprow, Roy Lichtenstein, Geoffrey Hendricks, and others advocated that art should be based on everyday life. The phrase “anything can be art” was frequently repeated in the creation of Happenings, multi-media installations, and video art. Experimental approaches to methods of creation using a remarkable range of materials were investigated by these young women. Interdisciplinary aspects of the Douglass curriculum became the basis for performances, videos, photography, and constructions. Sculpture was created using new technologies and industrial materials. The Douglass women artists included in this book were among the first to implement the message and direction of their instructors.

Ultimately, the artistic careers of these young women have reflected the successful interaction of students with a cutting-edge faculty. From this BA and MFA program in the Visual Arts emerged women such as Alice Aycock. Rita Myers, Joan Snyder, Mimi Smith, and Jackie Winsor, who went on to become lifelong innovators. Camaraderie was important among the Douglass art students, and many continue to be instructors within a close circle of associates from their college years. Even before the inception of the women’s art movement of the 1970s, these women students were encouraged to pursue professional careers, and to remain independent in their approach to making art. The message of the New Art was to relate one’s art production to life itself and to personal experiences. From these directions emerged a “proto-feminist” art of great originality identified with women’s issues. The legacy of these artists can be found in radical changes in art instruction since the 1950s, the promotion of non-hierarchical approaches to media, and acceptance of conceptual art as a viable art form.