The following paper argues for a critical creative paedagogy as a means of meaningfully engaging with Indigenous and decolonial philosophies. We showcase our critical frameworks and pathways for teaching a decolonial and Indigenous university course where philosophy and arts meet to engage with complex colonial, racial and epistemological…

As political agendas change, the teaching of writing continues to evolve, encompassing different writing practices in an attempt to address the perceived needs for literacy in our society. This article presents the Write Here project, which aims to boost children's social development and literacy attainment through engagement with visual art,…

It is important to find the means by which struggling writers can find success in the English Language Arts. For students struggling with reading and writing, the visual arts may be a way of accessing and expressing their ideas and ultimately opening up a world of creative possibilities. This article explores drawing and painting as a pre-writing…

Generative thinking is explored in this article by chronicling the development of middle school English language learners' poetry writing through their interaction with visual art. The author explains how art conversations (Reilly & Cohen, 2008) were used to help students engage in dialogue about the topic of journeys and how students' paintings…

Argues that student creative writing is stimulated by painting and other visual art. Describes a seven-step process in which students view painting and other visual arts and then write poetry. Includes suggested artworks and excerpts of poetry written by students. (CFR)

Whether referring to psychologist Stanley Milgram's intriguing theory, John Guare's successful play and film, or Kevin Bacon's party game, six degrees of separation may also be used as a way to help students make visual connections. The six degrees of separation is the concept that everyone is connected to everyone else in the world by only six…

Offers 17 exercises combining writing and painting, each with its own theme and goal, and all designed to show that close observation is fundamental to the effectiveness of both visual and verbal expression. (SR)

Recounts one teacher's use of art in the poetry-writing classroom, and suggests that its success stems from the following elements: schemata for seeing, experience with poetry, individual choice of art and poetic form, an encouraging environment, time to look and think and feel, and a powerful subject. (SR)

Describes how, in an American literature survey class, the characteristics of literary periods are underscored by seeing them reflected in contemporary visual arts, via a creative writing assignment, and by cooperating with the local museum. (SR)

BECAUSE CHILDREN OFTEN CONCENTRATE ONLY ON RHYME AND RHYTHM WHEN WRITING POETRY, AN EIGHTH-GRADE CLASS WAS INTRODUCED TO THE USE OF SPECIFIC WORDS, SOUNDS, IMAGERY, AND CONTENT. THE STUDENTS READ VARIOUS MODERN POETS AND TOOK A "FIELD TRIP OF THE SENSES," VISITING ZOOS AND MUSEUMS TO FIND SUBJECTS FOR POEMS. WRITING POEMS MODELED AFTER…

This instructional kit outlines procedures for implementing Project PARTnership, a program for teaching students with disabilities greater self-determination skills through specifically designed arts experiences. An introductory section describes key project activities, including establishing a site steering committee comprised of teachers,…