This article presents and discusses the products of a creative workshop for artist/teachers which aimed to explore artistic identity through fabric bricolage, a medium unfamiliar to the participants. The account of the workshop and the artifacts created reveala the efficacy of a process that fostered reflection, honored complexity, included relational knowing, and affirmed the power of arts-based methods to reveal, connect, reframe, and transform. The article illustrates how individual acts of making, through the tactile, symbolic, and historically rich process of quilt-making, became a collective quilt of experience. The discussion points to the potential for further application in teacher education, professional development, and community arts contexts; any space where identity, creativity, and connection are valued. In a time when the arts continue to be marginalized in formal education and public discourse, creating spaces where creativity can be reawakened and meaning co-constructed is not just enriching, it is essential.

Focalised through the rehearsal process of a reading of At What A Price by the Black British playwright Una Marson, this article looks to create awareness of this particular work and that of other Black playwrights who may be lesser known in, and beyond, the theatre world. There is discussion of the meaning(s) of ‘Black Theatre’, the role of censorship, Britishness, as well as the canon of work available and used in drama schools. Arguments are posited as to how unearthing unpublished plays can embolden, enrich and challenge our notions of theatre, widen participation and aid efforts to decolonise curricula.

Over the past few decades, the engagement of artists in teaching activities has played a crucial role in society—specifically in areas such as schooling and social service agencies—while simultaneously providing artists with a supplementary income source. This systematic literature review explores the current state of research on the engagement of artists in teaching activities, addressing the questions: How have teaching artists been examined in recent academic literature, and what are the main topics of discussion in scholarly conversations about teaching artists? A total of 125 articles published between 2010 and 2020 were analyzed using quantitative and qualitative methods. This study identifies five central themes: teaching artists’ practice, their lives, professional development, policy-related issues, and terminology. It also provides recommendations for future research, emphasizing the need for consensus on terminology, developing a clear typology, and examining the impact and effectiveness of professional development programs for teaching artists at various career stages to enhance their skills and knowledge.

On April 13, 2019, an EF3 tornado demolished the traditional Caddo grass house and the Caddo Mounds State Historic Site museum with approximately 80 people inside. This occurred on Caddo Days, an annual event designed for Caddo people to share their culture with the surrounding community. In July 2019, survivors, community members, and Caddo people gathered for a weekend in which representatives of the International Coalition of Sites of Conscience facilitated art and ritual activities to process the events of April 13 and tell the story as a part of the history of the site and the Caddo people.

Literature is needed to address lifeworlds of music teachers outside the scope of K-12 public school settings. This article presents narrative inquiry investigating the experiences of a teaching artist musician. I employ a social phenomenological framework and draw on literature involving sense of self and work–life balance. With a former research participant, I inquired into earlier issues of work–life balance and multiple music teaching roles. Data were collected through interviews and observations, which took place in person and online. I drew narratives from data in discussions with the participant. Themes included that a re-prioritization of music teaching and musical roles might be a continual process requiring flexibility and risk. This study supports nuanced understandings of a broadly defined music teaching profession and the challenges associated with sustaining such a career. Implications point to a consideration of what preparation might be helpful to a music teacher outside a K-12 public school setting and what professional choices are available for teaching artist musicians.

An interview with Shawn Kinley, teacher and performer of improvisational theatre, whose work has taken him to 52 countries across five continents over a 30-year career. His diverse teaching experience includes working with scientists, opera companies, the military, family therapists, and more. Shawn shares his thoughts about the need for the teacher to also be a student in the training experience. Examples of how to engage with improvisational teaching are described.As a performer and teacher of improvisational theatre for 30 years, Shawn Kinley has taught in 52 countries across five continents. He has worked with theatre groups, schools, opera companies, the military, and therapists. In the last few years, the teaching has expanded even further to include a United Nations project on equality for women in Dubai and working with scientists at the Weissman Institute in Israel on experiments ranging from pills for creativity to the science of human connection.He is based at the Loose Moose Theatre in Calgary, Canada—established by improvisation pioneer Keith Johnstone—where he both performs and teaches. He is one of the main trainers in the International Improvisation School, which has run since 1989 teaching students from around world who come for 2 weeks of intensive training.

ABSTRACTPreschool is a critical period for children. They need to develop a variety of skills (e.g., social and emotional skills, cognitive skills, motor skills) that are important for their development between the ages of 3 and 5. Dramatic play provides children with safe environments that allow them to learn and practice those important skills as it fully engages children intellectually, emotionally, physically, verbally, and socially. Strategies for teachers and an example for organizing dramatic play in preschool classrooms are offered.

ABSTRACTIn January 2019, third graders at Penns Manor Elementary used known math skills and new math skills to draft a pattern and dress a four harness loom to create a woven wall hanging. Twelve core students learned the basic skills and then taught their peers and classroom teachers under the guidance of teaching artist Sandra Trimble. It turned out to be a very successful exercise in integrated learning for the third grade and the whole school.

ABSTRACTThe need for dialogue between diverse groups within society is pressing, but the shrinking of shared public space makes it difficult for storytelling to cross social divides. Through an evolving practice of multi-artform “storyhacking,” I and various collaborators have attempted to facilitate creative intercommunity dialogue by indirect means.

ABSTRACTThis article critically explores two dance educators' reflections of difference in dance learning and teaching. We pose the question, How as educators might we facilitate and view difference? What have we learned in our teaching practices that aims to celebrate difference? Through the sharing of narratives and reflections about our experiences of teaching dance to a diversity of students in learning events, we realize the importance of addressing a class as a community of different individual stories and realities while acknowledging commonalities that lie within the difference.