In this paper, I explore German playwright Bertolt Brecht's conception of the art of acting, and his views on the new actor's conduct towards their craft, as a pedagogical model for Brechts' broader view on how we should live our lives. Drawing on his key writings -- most importantly, his famous street scene essay -- I will show that Brecht's…

Mark Fisher argues late capitalism has become so globally dominant that it now claims to constitute reality. This article takes up Fisher's call to identify untenable or unsustainable elements of capitalism, exposing its claim of realism as ideological. Focusing on late capitalism's anxiety-inducing, panicked temporal malaise, the article explores…

Planning lessons and in-the-moment improvising during enactment of the plan are two central activities inherent to the practice of teaching. To what extent are these pursuits conflicting or inconsistent? What are the characteristics of improvisation during teaching and what are teachers' possible stances on it? We discuss these questions based on…

The authors investigated improvisational theater and the possibilities that it presents for reconsidering reading pedagogy, with a focus on discussions of reading. The authors conducted empirical, qualitative studies of improvisational practice and instruction and analyzed improv through the construct of worlding. In this article, the authors…

Years of failed attempts to engage my mathematics teacher students in exploration and co-creation led me to radically change my teaching approach. Inspired by literature that uses the jazz improv metaphor for teaching, I derived three tenets based on principles from jazz improv. First, I would bring no more than a single problem-solving task to…

This paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome-oriented and individualistic discourse. Taking a weeklong workshop at the…

This article contains 15 "takeaways" about how to teach organic creativity, from actual teachers with several hundred total years of experience. Teachers of English, physics, Advanced Placement Calculus, science, theater, the visual arts, dance, school administration, school counseling, educational psychology professing, world languages,…

Accessing the strategies implemented during real-time musical creative processes represents a challenge for researchers. Retrospective verbal protocol with subjective aided recall (RVPwSAR), where a first-person video is used as an aid to elicit feedback from a subject, has shown great potential for the study of real-time decision-making in sport,…

Role-play was a popular educational strategy within the American civil rights movement. Many civil rights activists performed the movement in private before performing it again in public. Compared to the scholarship on the role of music in the civil rights movement, the importance of drama has been understudied. The history of role-play as an…

Recent scholarship in 4E Cognition posits what dancers intuitively know so well--that our conceptual maps and communicative strategies emerge directly from and in fluid relationship with our own bodily habitation of our world. This article offers a pedagogical strategy aimed to bridge the ontological divide between dancing and writing through the…

Basic Design is the beginning of design course series in architectural education which initiates architecture students to both architectural education and the profession. First-year design curricula have generally common goals of students' acquisitions about design knowledge, skill and competence; however, ways of teaching may vary. Here, we…

Introduction: The actualization of crossover point design activities in modern artistic practice is due to the growing mass demand for entertainment. The musical and theater project involves the introduction of new technologies. Creation of synthesized art "crossover-projects" requires the efforts of a group of managers and performers,…

Background: A significant body of scholarship has highlighted the importance of improvisation in teaching, particularly the interactional and responsive creativity that is required for teachers to co-construct meaning with students. However, recent efforts inside and outside university-based teacher education have pushed against novice teacher…

Collective free music improvisation (CFMI) develops musicians' relationships, identity, and communication skills and engages musicians from different cultures by tapping into their diversities in the music-making process. It also develops an open attitude toward working with children's creative potential--by paving the way for open, egalitarian…

In the past a typical performance situation consisted of a proscenium stage, performers on the stage and audience seated somewhere in the front. In today's technological age, audiences are prone to watching performance on their smart devices. This live-disconnect between the audience and performer/performance has affected the industry on multiple…