具身认知视域下传统手工艺程序性知识的体验创生行动研究

为了实现传统工匠精神的现代性转化,需要在现代科技的认识论中引入具身认识的观念,强调身体在技术实践中的重要性.具身智能的兴起正是这一理念的体现,它强调智能和认知是身体 ...

研究表明龙泉青瓷手书刻绘的实践，以“内容共创–体验共创–文化共创”的三阶跃迁机制，将消费者从被动的购买者转化为主动的文化参与者与传承共建者，实现技艺核心价值(“以刀代笔” ...

“具身学习”是一种全身心参与、身心融合的多感官学习，它将“身体参与”置于学习活动的核心位置，追求身体与心智的整体性和一致性，强调知、情、意、行的和谐统一。学习是具身性 ...

梅洛–庞蒂认为，身体乃我与世界互动之主要场域，借助于身体，我感知与体验世界。一切意义皆显现于知觉场或实践场之中。他在《知觉现象学》中写道：“身体是在世界上 ...

可见，身体图示是梅洛–庞蒂所谈论的现象学意蕴，而先验还原则是胡塞尔现象学的精髓。但是二者在人类对于世界的感知和体验、强调身体在感知和体验中的重要性以及强调人类的 ...

摘要: 文章基于现象学视域，通过对空间的及不同类别的阐释，以及不同学习空间中学习者的身体与感知的简要分析，提出学习空间对身体方面对学习者的不同影响。

他在《知觉现象学》中用“身体图式”概念指身体与空间的相互受孕的关系，即身体置于其中的历史场境，即人对身体位置、姿势和能动性的非显性意识。梅洛–庞蒂认为身体图式划出了 ...

摘要: 本文立足中国哲学核心范畴“道–气论”，揭示其作为中国传统“医武融合”的内在哲学根基。医学与武学在“气为本体”、“道贯身心”的哲学共识下，通过“阴阳动态平衡”、“形 ...

作为第二代认知科学，具身认知(Embodied Cognition)是当前语言学习与认知领域重要的研究话题，它让人们思考身体，认知与思维三者之间的关系，突出了身体在认知中的关键作用 ...

本文概述了北京砖雕的发展脉络，调研了砖雕技艺的传承人与制作流程，主要以民间建筑砖雕为主，通过田野调查与文献研究，对胡同内留存的传统砖雕进行分析，探寻传统建筑装饰砖雕 ...

No abstract available

This article aims to provide insight in the research area of embodied cognition and shows how it can emphasize how we understand the skills taught in sloyd education and thus create new arguments for the didactic relevance of sloyd. This is relevant since the practical competence in the Danish public school has diminished over the past 20 years, on behalf of an increasingly theoretical public school. We need strong scientific arguments for the maintenance and further development of craft as a school subject. The article is a theoretical contribution without practitioner empirical parts, and the method used is a review of embodied cognition research, put in perspective to the author´s experience with sloyd education and general woodworking. As such, it should be read as an essay. Embodied cognition differs from traditional brain research, in the understanding that the brain is plastic: cognition is shaped by the brain being embodied in our body, embedded in our surroundings, extended through tools, and enactive through the necessity of human movement. The fundamental structures of wood and tools are highly functionally coded. Therefore, techniques and working methods in sloyd are taught, learned, and stored through repetitive practice and training, corresponding to the design of the tools and materials. At the same time, the way our brain governs our actions with the tools, is highly dependent on the surroundings in which we learn. The background and prerequisites for embodied cognition as a research field are pointed out, explaining why the neurological hierarchy of amodal thinking demands that tools and techniques in sloyd must be gradually introduced and learned, so the pupils can use them in the best conceivable way in a free, creative design processes. Simultaneously, our modal perceptual impulses in the neural network are inextricably connected to our body’s earlier experiences. This perspective review shows that hierarchy of amodal and modal learning processes in sloyd is extremely dependent one another. Therefore, the teacher must take into consideration that every time we introduce a tool or technique to a student or pupil, we consider, and take notice of, the impact of the corporeal learning environment. Further research in the field of sloyd, as seen through embodied cognition, can contribute to understand the importance and necessity of a thorough and precise introduction of tools and materials to pupils in the public school. Keywords: Sloyd, Embodied Cognition, Craft and Design, Brain plasticity, Practical Competence.

No abstract available

Traditional Kandyan jewellery craftsmanship occupies a distinguished position within Sri Lanka’s cultural heritage. Its exceptional artistry and highly specialised techniques define it as a unique craft tradition, sustained across generations through the transmission of indigenous knowledge and embodied skills. However, this craft and its associated artisan communities are increasingly threatened by socioeconomic changes, evolving cultural practices, and environmental pressures, resulting in a gradual erosion of both practice and knowledge. In response to such risks, the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage emphasises the preservation of knowledge systems and craftsmanship skills rather than focusing solely on physical artefacts. This study employs both primary and secondary data, using a qualitative research design supported by ethnographic methods to examine the issue in depth. The primary aim is to highlight the significance of indigenous knowledge preservation as a vital strategy for safeguarding cultural heritage. Specifically, the research investigates the decline of traditional Kandyan jewellery–making communities in Sri Lanka and examines how this decline affects the continuity of craft skills and knowledge. Ultimately, the study seeks to contribute to the long-term sustainability of Kandyan jewellery heritage through the preservation and transmission of its traditional knowledge systems.

This study takes the “Huili Red Copper Hot Pot Craftsmanship”—an intangible cultural heritage (ICH) item of Sichuan Province—as its research object. Rooted in the context of local ICH research, it systematically explores the internal logic, practical paths, and realistic dilemmas of its living inheritance and modern transformation. First, the study sorts out the symbiotic relationship between the craftsmanship and the region, shaped by Huili’s unique copper resources and the historical context of the Southern Silk Road. Then, from the perspective of “Folklore of Craftsmen”, it analyzes the generation mechanism of embodied practice and tacit knowledge in the oral and experiential transmission model, as well as the risk of intergenerational discontinuity. On this basis, it focuses on how the craftsmanship has achieved creative transformation from a practical cooking utensil to a cultural symbol through functional improvement and form innovation under the guidance of the concept of productive protection. Furthermore, the study discusses how inheritance subjects represented by the Fengtongjiang Intangible Cultural Heritage (ICH) Research and Study Base in Luchang Town, Huili City, have promoted positive interaction between cultural identity and economic benefits in the context of cultural-tourism integration and rural revitalization by constructing community participation mechanisms. The research finds that the vitality of Huili red copper hot pot stems from the organic unity of the craftsmanship itself, inheritance subjects, and the community context in dynamic practice. Its experience provides an insightful local model for the sustainable inheritance of traditional handicraft ICH.

The Independence Plaza of Otavalo in Ecuador is a well-known international tourist destination that brings together Indigenous vendors of the Kichwa-Otavalo nationality. Although the side-by-side stands are lined with what look like traditionally handmade crafts, most of what is sold here is mass produced. Among the overwhelming display of industrialized textiles, this article aims to understand the perseverance of local handloom weavers. We argue that the materiality of weaving practices resists disappearing over time, despite difficulties, because the artisanal process vests weavers with creative possibilities to make work and make kin. Using a phenomenological research design based on in-depth interviews and participant observation, we found that skilled practice, embodied knowledge, and knowledge transmission shape the creation of value and that value creation also shapes practice, knowledge and its transmission. These aspects constitute prospects for artisans to make a tenuous place for themselves in a global market economy.

Passion is a cornerstone of craftsmanship, driving dedication, excellence, and the refinement of skills. It inspires craftspeople to strive for mastery and ensures the preservation and transmission of craftsmanship through mentorship, fostering a cultural and historical understanding of the craft and fostering a sustainable craft culture. Despite its importance, traditional craftsmanship in Austria faces significant challenges, including an aging workforce and declining interest among younger generations. These issues are compounded by the pressures of technological advancement and market changes, which have confined crafts to niche markets.  Academic studies on passion in craftsmanship, particularly in Austria, remain scarce. This study explored the multifaceted dimensions of passion within skilled trades. It aimed to examine perceptions of passion in Austrian craftsmanship, its sources and characteristics, and how it is passed from generation to generation and manifested explicitly in goods and services. The study used thematic content analysis and intensive interviewing to explore characteristics and sources of passion, how passion becomes visible and tangible for others and how is it passed on.  The study's results found that passion is an all-encompassing connection between tradition, relationships, and sensory satisfaction. Craftsmen see their work as a lifelong journey because it transcends the demands of any single project or challenge, and this deeply felt personal approach is what they want to pass on to the next generation. Passion, according to interviews, is transferred primarily through model, story, and direct engagement in everyday labor. Each master craftsman lives and embodies his values, such as commitment, precision, creativity, and, most importantly, joy in craft-crafting their unspoken standard for apprentices to observe and absorb

People have pointed to a connection between the creative arts and computing. In the present longitudinal pilot study we taught six programmers and six non-programmers how to read and write written crochet patterns with or without the accompanying crochet gestures. Half of programmers (three participants) and non-programmers (three participants) were taught with the gestures, while the other halves were not. Over two weeks we individually taught participants crochet during three separate 30 minute sessions. In a fourth session, we tested participants on crochet and elementary programming and algorithms. Test results showed that programmers and non-programmers performed better on average on both tests when they learned with gestures. We interviewed all participants afterwards; programmers provided examples of how crochet demonstrated elementary programming ideas, while non-programmers described what they thought about programming. Our empirical study provides evidence of embodied cognition and offers contributions towards developing novel teaching methods in computer science.

: This paper examines the emergence of embodied knowledge in the pre-movement phase of Yunbu training within Kunqu Opera, focusing on the somatic processes that precede visible motion. By centering on the micro-moment immediately preceding the dancer’s first step, the study introduces the concept of somatic perception to articulate a kinaesthetic state in which breath, gravity, and spatial awareness converge in preparation for action. Building on the notion of kinaesthetic intention, the research proposes that the dancerly body is not simply activated through external movement, but generated internally through a sequenced alignment of attention, sensation, and embodied awareness. The study adopts a hybrid methodology integrating fieldwork with the Southern Kunqu Opera Troupe, high-resolution video microanalysis, and somatic reflection. Through this approach, a five-phase preparatory sequence is identified that marks the internal structuring of the dancer’s body prior to visible motion. This often-overlooked kinaesthetic threshold critically shapes performer intentionality and facilitates the nonverbal transmission of embodied aesthetic knowledge. By revealing the latent structures beneath visible technique, the paper contributes to current discourse on embodied cognition in traditional performance. The findings offer a transferable conceptual framework for analyzing pre-movement cognition and propose new directions for theorizing nonverbal pedagogy in dance and theatre training.

No abstract available

The purpose of the study is to analyse folk dance as a language of culture through the prism of semiotic and communicative approaches, as well as to identify the structural and semantic characteristics of dance text. Research methodology. An interdisciplinary approach was used, combining the tools of semiotics, cultural studies, and art history. The method of semiotic analysis provides an opportunity to interpret folk dance as a text with a symbolic structure, while the communicative approach helps to consider it as a means of dialogical interaction within a cultural community. Scientific novelty. An analysis of folk dance was conducted within the framework of semiotic and communicative approaches, emphasising its ability to encode, transmit, and preserve cultural meanings. The study opens new horizons for an interdisciplinary understanding of dance as a cultural code that simultaneously preserves tradition and responds to contemporary challenges. Conclusions. Folk dance in traditional and contemporary contexts appears as a multi-level semiotic and communicative phenomenon in which physicality, ritual, symbolism, and emotionality are combined into a single system of transmission and formation of meanings. Its uniqueness lies in its ability not only to transmit cultural heritage, but also to renew it in response to the challenges of the times, while preserving its structural recognisability. Dance functions as an intermodal art form, where every element — from gesture to rhythm, from costume to space — participates in the creation of a multisensory text. The appeal to bodily cognition (according to B. Johnson) and the semiotic approach allows the author to understand choreography not as a purely aesthetic form, but as an instrument of embodied thought, where the body is not only a tool, but also a thinking agent. With its versatility, folk dance plays a number of important social, communicative, ritual, and cultural functions, serving as a form of collective memory and an effective means of cultural identification.

Drawing on fieldwork amongst lacemakers in Slovakia, this article examines the relationship between practices of making and the production of value in artisanal labour. The author shows that the processes of making challenged artisans’ perceptions of the natural distribution of agency between humans and objects, resulting in feelings of ontological insecurity. Arguing that they perceived this insecurity as a problem of ethics, as well as a problem of agency, she demonstrates how the intellectual and sensual experience of manufacture was constitutive of the ways in which artisans perceived the value of their craftwork. Taking this approach, the article seeks to disrupt the anthropological habit of framing questions about value in terms of domestic economies, global markets and aesthetic regimes, and making in terms of skilled practice, embodied knowledge and knowledge transmission. The author also suggests that scholars ought to pay more attention to the ways in which ethical considerations are grounded in our ontological disposition towards the material world.

This article proposes a comparative framework for interpreting architectural and armorial artefacts through morphological and symbolic analysis. Focusing on the Romanesque, Gothic, and Renaissance periods, the study explores how buildings and body armour—though differing in scale and function—encode similar cultural values related to protection, identity, and representation. Rather than seeking direct historical transmission, the research reveals convergent design logics shaped by shared symbolic imperatives. Methodologically, the article combines typological comparison with embodied heritage practices. These include experimental reconstruction, traditional stone carving, and field-based conservation conducted through the Ambulance for Monuments (Ambulanța pentru Monumente) programme. Such experiences support a situated understanding of proportion, articulation, and material behaviour in both architecture and armour. By repositioning historical armour as a culturally meaningful artefact rooted in craft knowledge and symbolic logic, the study contributes to current debates in heritage science. It argues for the inclusion of martial objects within broader frameworks of heritage interpretation. The findings highlight how architecture and armour function as co-expressive elements of a shared design culture, offering new insights for research, conservation, and the communication of historical meaning.

This paper examines how textiles can be integrated into Waldorf primary schools through three exploratory case studies. Rather than prescribing guidelines, the study positions its outcomes within theoretical debates on craft, handwork, embodied knowing, and aesthetics. Drawing on interviews with three teachers, the cases illustrate that textiles can function both as cultural practices and as embodied engagements: they may support multisensory learning, strengthen patience and fine motor skills, and foster identity through imaginative and aesthetic experience. The analysis suggests that textiles are not merely peripheral activities but can serve as practices where cognition, embodiment, and self-understanding converge. Earlier perspectives, such as Stehlik’s critique of technology, are reconsidered considering current curriculum reforms that seek to balance digital tools with craft-based learning. The paper highlights the heuristic value of case studies for illustrating how theoretical concepts might be operationalized in practice, offering insights for academic discourse and pointing to future research on the intersection of material culture, pedagogy, and identity.

This Research Note discusses the working techniques surrounding five practical physical theatre tools developed by Dean Fogal. Fogal studied in Paris with Marcel Marceau and Etienne Decroux and assisted Thomas Leabhart at the University of Arkansas before returning home to Vancouver, British Columbia, where he researched and taught corporeal mime over the course of fifty years. Fogal explains how actors can use ropes, poles, elastics, chairs, and umbrellas to muscularize their impulses and intentions and thereby embody the connected truth between themselves and their characters, themselves and their space, and finally themselves and their audience. A studio-based researcher, Fogal’s Note explores theatricality and performativity beyond the traditional contexts of text-based theatre and drama, revealing his understanding of corporeal mime as the root of the actor’s craft. The piece is edited by Fogal’s daughter Claire Fogal, who, in her dissertation, describes her father’s research as a “diagonal transmission” of Decroux’s work, faithful to the innate principles of corporeal mime but extended and transformed in relation to Western Canadian culture and Fogal’s own focus on ensemble development, the actor’s well-being and agency, and the grounded belonging fundamental to great performance.

This study examines the transmission of mystical memory in Islamic musical traditions by exploring how the intellectual and aesthetic legacy of Mawlānā Jalāl al-Dīn Rūmī (d. 672/1273) resonated across the Indo-Islamic cultural sphere through epigenetic and neuroaesthetic mechanisms. While previous scholarship has primarily emphasized Rûmî’s written works and spiritual influence, this article foregrounds his auditory metaphysics, focusing particularly on samāʿ and qawwalī as ritual practices of divine remembrance (dhikr) and embodied knowledge production. By situating sound as the central epistemic axis, the research demonstrates that Rûmî’s philosophy should be understood not only as poetic symbolism but as a sonic epistemology grounded in ritual embodiment. Methodologically, the study employs an AI-assisted comparative framework integrating spectral sound analysis (using Librosa and Praat software) to compare rhythmic density, melodic intensity, and vocal texture between Mevlevī samāʿ and Chishtī qawwalī performances. This approach allows the research to visualize and quantify how repetition, rhythm, and bodily participation generate neuroplastic traces of mystical memory. The findings reveal that Mevlevī rotation and breath-centered chanting of “Hu” produce inner resonance, while Chishtī qawwalī’s intense vocal invocations such as “Maulā” and “ʿAlī” induce collective trance states. These shared patterns demonstrate that mystical sound functions as an intergenerational medium of cultural memory, sustaining epistemic continuity across centuries. Furthermore, the study highlights the resilience of sonic traditions during colonial ruptures, showing how music functioned as a form of mystical resistance when textual expression was silenced. Ultimately, Rûmî’s auditory philosophy is reinterpreted as a biocultural, embodied, and epigenetic phenomenon that bridges spirituality, cognition, and sensory experience. The research offers new insights for Islamic studies, music-based pedagogy, neuroaesthetic learning models, and postcolonial epistemology, demonstrating that sound remains a vital agent of knowledge, memory, and identity transmission in the Islamic world.

Questions about the existence and temporality of intention in jazz improvisation are investigated based on phenomenological interviews with 48 expert jazz improvisers: Do improvisers intend that which they will play, and, if so, are their conception and execution of a musical idea coincident, or are they separated in time? The findings on improvisatory cognition are summarized and discussed by means of perspectives of phenomenology and 4E cognition. The collected first-hand perspectives indicate that in so far as the improviser is mentally aware of musical ideas, the conception and execution of these ideas are separated in time. Further, while several statements point out that a multi-directional awareness (e.g., internal and external hearing) is required by the improviser, this is perceived to be connected to, or even dependent on, a form of mindlessness. This seemingly paradoxical requirement warrants a distinction between ‘mindful’ and ‘mindless’ (embodied) awareness. Based on the phenomenological interviews, it is suggested that improvisational activity is characterized by a continuous oscillation of agency between ‘mindful’ intentions and ‘mindless’ impulses. While the expert jazz improvisers in this study do not seem to consider ‘mindless coping’ to be a completely true description of mastery in their craft, ‘mindless coping’ still emerges as an important ideal to several of them.

The Paithani saree, an identity of Maharashtra’s textile heritage, holds Geographical Indication (GI) status since 2010, for its exquisite handwoven craftsmanship and distinct aesthetic rooted in centuries-old traditions. Despite its Geographical Indication (GI) status, the authenticity of Paithani sarees is threatened by the proliferation of power-loom imitations that flood contemporary markets, which undermine the craft’s authenticity as well as economic and cultural value. This article examines the heritage of authentic Paithani weaving, the challenges posed by market fakes, and the failure of GI protection and identifies key threats to Paithani’s sustainability and need of preservation of the Indian ancient knowledge. The Paithani handloom represents a living repository of India’s Indigenous Knowledge Systems (IKS), where artistic expression and scientific precision intertwine through the ancient interlocking tapestry technique. Each handcrafted Paithani embodies generations of indigenous technological wisdom, ecological balance, and cultural symbolism. However, the growing influx of power loom imitations threatens to dilute this heritage, eroding the cognitive and aesthetic depth that defines authentic Paithani weaving. Preserving Paithani is thus vital to sustaining not only a textile craft but a profound indigenous knowledge tradition. This paper critically examines the causes behind this failure, including limited legal literacy among artisans, lack of regulatory enforcement, institutional gaps, and most notably, consumer unawareness of what constitutes an authentic Paithani. Field research, interviews with weavers, cooperatives and cluster heads, and market stakeholders reveal how fakes reduce the perceived value of genuine handloom saris, and distort consumer trust. The study underscores the urgent need for policy reform, educational outreach, digital certification systems, and market regulation to protect the integrity of the GI tag. Ultimately, preserving Paithani weaving requires not just protecting a product but defending a living heritage and ensuring its sustainable transmission to future generations. The research article follows the primary, qualitative, descriptive data collection method from weavers and buyers of Paithani to recommend the possible suggestions.

This article examines the creative process of creating film music inspired by the cultural heritage of the Bugis people, focusing specifically on the incorporation of pappaseng verses in the film Kuru Sumange. Pappaseng denotes the oral transmission of ancestral wisdom, moral guidance, and philosophical insights that have been repeatedly passed down through generations, embodying profound ethical and spiritual values that are intricately woven into Bugis culture. This study emphasizes how film music serves as a medium for revitalizing traditional values, enabling them to be reimagined and expressed through modern artistic e ces amidst the challenges posed by modernization and the diminishing presence of oral traditions. The study utilizes a Practice-Based Research (PBR) method, framing the process of musical creation as a method for gathering data and a way to interpret them analytically. This method intertwines the process of composition with the act of inquiry, transforming the music into a space for generating knowledge. In the case of Kuru Sumange, selected pappaseng quotations are converted into lyrics and further crafted into melodic, harmonic, and rhythmic structures that closely align with the film’s narrative flow and emotional atmosphere. This transformation allows the music to serve not solely as an aesthetic enhancement to the visual imagery,  but also as a means of conveying traditional values to contemporary audiences. The findings indicate two key contributions: firstly, film scenes serve as the main stimuli for musical creation, influencing decisions regarding instrumentation, dynamics, and thematic development; secondly, the philosophical dialogues found in pappaseng are skillfully transformed into lyrical content, thus connecting oral tradition with cinematic expression. This work showcases the considerable potential of music as a culturally contextual and emotionally impactful approach for preserving culture, facilitating intergenerational communication, and creatively revitalizing Bugis heritage through local cinema.

This article explores the integration of tribal, indigenous, and community-based knowledge into experiential learning through hands-on projects, with a focus on the Warli community in Maharashtra, India. By employing a qualitative case study approach and systematic document analysis, the research examines how Warli art and storytelling can be effectively woven into environmental education to foster cultural transmission, ecological awareness, and community empowerment. A comprehensive review of Indian and international literature supports the study’s conceptual framework, highlighting the importance of context-sensitive, participatory, and culturally responsive methodologies. The findings reveal that such experiential learning projects not only enhance student engagement and pride in heritage but also empower local artists and elders as educators. However, challenges such as limited resources, lack of teacher training, and initial resistance from stakeholders persist. The discussion emphasizes the necessity of methodological rigor, deep community involvement, and ongoing validation through systematic review and triangulation. The article concludes by recommending collaborative efforts among educators, policymakers, and communities to ensure that indigenous knowledge is preserved and revitalized within India’s educational landscape, thereby promoting sustainable and inclusive development. Keywords: Experiential learning, Indigenous knowledge, Warli art, Community-based education, India

The transformation of higher education in South Africa has tended to focus on issues such as access and representation, leaving curricula insufficiently addressed. This is surprising, considering that much previous scholarship, including the recent Khampepe Report, has called for the implementation of a specific pedagogical framework to foster in students critical and holistic perspectives about social justice issues and dismantle pre-existing biases. Shared Humanity: Lessons in Critical Thinking at Stellenbosch University was designed with these issues in mind and was implemented in 2019 as a pilot by the Division: Student Affairs in the Unit for Experiential Learning. This article discusses the visual arts session of Shared Humanity, which is premised on relational perspectives derived from post-empirical and indigenous knowledge frameworks. By examining relevant literature, specific learning practices and students’ reflections from the visual arts session, the article makes a case for the meaningful inclusion and development of embodied and arts-based learning strategies in social justice pedagogical frameworks in higher education. It argues that embodied and arts-based learning strategies offer new ways of thinking and learning about old problems, and, as such, can become powerful tools for engaging students meaningfully in the transformation project. This article, therefore, focuses on student experiences of arts-based embodied methods to enhance teaching and learning related to social justice concerns. Keywords: Embodied learning, arts-based methodology, Shared Humanity co-curriculum, experiential learning, transformation

Purpose:To propose a practical, studio-ready training approach for tattoo apprentices that replaces improvised, observation-only learning with a structured model aimed at faster skill acquisition, safer technique, and more consistent technical/creative outcomes. Methodology: Conceptual, practice-oriented model development based on synthesis of secondary literature from experiential learning, workplace apprenticeship, and procedural skills training, translated into a staged tattoo-specific curriculum with tools for coaching, assessment, and implementation. Findings: A four-stage Hand-Over-Hand Experiential Model (HHEM) is articulated: (1) demonstration with safety framing, (2) mentor-assisted drills on synthetic media, (3) graduated autonomy with frequent feedback, and (4) supervised client sessions with structured debrief. The model emphasizes “just-in-time” correction of core motor variables (hand path, angle, pressure, pace, consistency), supported by rubrics, dashboards, mentor calibration, and fading guidance schedules to reduce errors and improve retention, transfer, and self-efficacy. Unique Contribution to Theory, practice and Policy: The paper adapts hand-over-hand coaching, common in other procedural domains, into a formalized apprenticeship framework tailored to tattooing, bridging experiential learning theory with studio operations. Practically, it offers a ready-to-run curriculum, assessment criteria, and an implementation playbook to standardize training without constraining artistic style. Policy-wise, it recommends studios adopt defined safety and competence benchmarks, mentor training/calibration routines, and documentation (rubrics/feedback logs) to improve consistency, reduce risk, and shorten time-to-competence across apprentices.

Purpose: This qualitative study examines how Experiential Learning Theory (ELT) influences students’ comprehension and application of fabric properties in garment production. Focusing on fashion design and textile students at Accra Technical University, the study explores how hands-on experiences contribute to a more profound understanding of fabric qualities such as tensile strength, moisture management, and sustainability. Methodology/Design: The research employed a qualitative approach, utilising semi-structured interviews and focus group discussions with 20 purposively selected students. Two focus group discussions (FGDs) comprising five participants each were conducted to complement the individual interviews. Participants were selected based on their practical experience and involvement in garment construction. Data were analysed thematically to uncover patterns related to experiential learning, material sustainability, and curriculum effectiveness. Findings: Thematic analysis revealed diverse levels of comprehension among participants. While some students demonstrated only foundational knowledge of fabric properties, others exhibited advanced understanding attributed to hands-on exposure. Key challenges included limited access to fabric types, insufficient practical components in the curriculum, and difficulty applying theoretical concepts. Practical engagement, business exposure, and sustainability considerations significantly enhanced students' learning and design decisions. Practical and Social Implications: The study underscores the need for curriculum reform that embeds experiential learning, industry engagement, and sustainability-focused education. These enhancements would enable students to make more informed fabric choices, improve garment quality, and support environmentally responsible fashion practices. The findings provide actionable insights for educators, curriculum developers, and policymakers in the field of fashion education. Originality: This study contributes to the evolving discourse on experiential learning in technical and creative education. It highlights the transformative role of ELT in bridging theory and practice, advancing sustainable garment production, and equipping fashion students with relevant, applied knowledge that fosters industry readiness.

Background and Aim: This study aims to develop a Huayao Yi folk dance curriculum to enhance third-grade students’ cultural knowledge and raise their awareness of intangible cultural heritage (ICH). Given the significance of ICH education in elementary schools, the curriculum was systematically designed based on the Contextual Teaching and Learning (CTL) approach. Materials and Methods: The curriculum framework follows the four instructional phases of CTL proposed by Sa’ud (2014): (1) Invitation—introducing cultural contexts to engage students’ interest; (2) Exploration—guiding students to observe and experience cultural elements; (3) Explanation and Resolution—facilitating students’ understanding of cultural knowledge and dance movements; and (4) Action Decision—encouraging students to apply their knowledge through creative dance activities. The curriculum integrates experiential learning, role-playing, cultural immersion, and dance performance strategies. This research adopted a curriculum development approach and employed the Index of Item-Objective Congruence (IOC) for expert validation. Three experts, including a Huayao Yi dance inheritor, a dance education associate professor, and the director of the Shilin County Educational Research Institute, assessed the curriculum’s content validity. Results: The IOC evaluation results ranged from 0.67 to 1.0, indicating acceptable to high levels of content validity concerning cultural authenticity, scientific rigor, and educational feasibility. Conclusion: This study provides a structured curriculum model that integrates ICH education into elementary school learning. The findings support the curriculum’s relevance and potential in promoting cultural knowledge and heritage preservation among young learners.

This paper explores the evolution and contextual background of an 18th-century dyer’s manuscript originating in Antwerp, covering the period between 1778 and 1802. This manuscript offers a unique glimpse into the operational practices of a small enterprise specializing in red hues for a middle-class clientele. The manuscript includes dye recipes, accounting records, and business correspondence, along with dyed textile samples that provide a tangible connection between written instructions and their visual outcomes. Our study aims to go beyond content analysis to examine the manuscript as a dynamic document in which the dyer’s craft knowledge and experiential learning are visibly embedded. Unlike most available technical treatises, this manuscript appears to be an evolving draft marked by corrections and additions. This fluidity in structure sheds light on the process of knowledge formation and codification in the craft, aligning with devices of precise knowledge transmission and especially with the concept of “codification of error”1—an approach developed within the artisan community to refine practices over time and theorized by Professor Sven Duprè. Through a selection of annotated pages, we highlight the manuscript’s traces of iterative thought and method development. We propose that these elements illustrate the dialectic between transmitted knowledge and individual experimentation, where mistakes, followed by correction, reflection, and refinement, play a central role. Additionally, we discuss the manuscript as evidence of the thin boundaries between practical trade knowledge and the field of scientific inquiry. Through the abovementioned and the comparison with contemporary manuals, this research positions the manuscript as a valuable case study in understanding craft knowledge evolution and its transmission within the historical context of 18th-century European textile dyeing.

Kathak, the Indian classical dance form, conventionally relies on the Guru-Ṡiṣya Paraṁparā, an oral tradition of transmitting knowledge from master to disciple. This tradition not only incorporates the learning of dance techniques and compositions but also cultivates an understanding of culture, society, and spirituality. This pedagogical approach emphasises experiential learning and an overall holistic understanding of this art form, which is rooted in treatises such as the Nāṭyaṡāstra and Abhinaya Darpaṇa. With time, this paraṁparā evolved into a more structured platform, introduced as higher educational institutions, with proper syllabi and curricula offering academic degrees and facilitating interdisciplinary research. Despite numerous challenges, higher education plays a vital role in preserving and disseminating the indigenous knowledge of Kathak, which ensures the continuity and identity of the art form. This study tries to investigate the indigenous knowledge from kathak pedagogy into higher education, exploring its relevance in this contemporary scenario and evolving approaches and methods of transmission.

This research aimed to develop a learning process that fosters creativity and innovation through experiential learning in the music and performance traditions of the Urak Lawoi ethnic group. Adopting a qualitative approach integrated with action research, the study engaged knowledge holders and youth representatives in co-creating a learning management model centered on local music and folk performance. Participants included Urak Lawoi children and youth interested in traditional music, along with cultural practitioners. Data were collected through interviews, observations, and document analysis. The findings reveal that creative and innovative skill development can be effectively promoted through four stages of learning management: (1) identifying knowledge transmitters and youth participants, (2) preparing musical instruments, (3) creating experiential learning activities in music and performance culture, and (4) cultivating performance experience. These steps were supported by four creativity development strategies: (1) individual knowledge acquisition, (2) raising awareness of community music culture, (3) facilitating collaborative brainstorming, and (4) co-creating artistic outputs. As a result, two youth participants acquired foundational skills in playing the Ga-Yok reed pipe and violin, forming a basis for enhanced creative thinking and a deeper understanding of Urak Lawoi musical heritage. Furthermore, this learning model aligns with the United Nations’ Sustainable Development Goals (SDGs), specifically supporting Quality Education (SDG 4) and the preservation of cultural heritage within Sustainable Cities and Communities (SDG 11).

This study investigates the integration of the traditional Goyang Karawang dance (GoKar) into biology education, particularly in teaching the human musculoskeletal system. Using a qualitative case study approach informed by ethnobiological and ethnopedagogical frameworks, data were collected through performance observations, interviews with dance artists and high school biology teachers, and document analysis. The analysis focused on the biomechanics and socio-cognitive meanings of core GoKar movements. Findings reveal that the dance involves coordinated actions of key muscle groups and joints, such as agonist-antagonist pairs and postural control centered in the hip and shoulder areas. Simultaneously, each movement expresses cultural values of grace, confidence, and balance, reflecting Sundanese philosophies of harmony. These embodied elements connect scientific anatomical knowledge with students’ lived cultural experiences. The research contributes to culturally responsive pedagogy by offering an experiential learning model that supports conceptual understanding while reinforcing local wisdom as a valid epistemic resource. This integration aligns with the goals of Indonesia’s Merdeka Curriculum and the Profile of Pancasila Students, promoting critical thinking, autonomy, and appreciation of cultural diversity. Overall, the study offers a transdisciplinary approach to science education that is inclusive, contextual, and pedagogically meaningful.

This article explores the significant potential of public space as a context for collective interaction, where community art processes can promote situated learning. In these circumstances, the boundaries of conventional educational classrooms and museum white cubes are dissolved, expanding the possibilities for generating knowledge in experiential, cooperative, intergenerational, and transdisciplinary ways. Framed by Lave and Wenger’s situated learning theory, the article aims to contribute to its practical application in the field of design by presenting strategies implemented in the architectural project Tejiendo la calle. These strategies are linked to four essential actions to generate meaningful experiences through creative processes in specific socio-cultural contexts: building community, creating the right circumstances, fostering diversity, and mending the landscape.

This paper presents a conceptual framework for a Hybrid Gurukul–Digital Pedagogy in Indian classical dance education. The framework integrates principles from traditional Gurukul pedagogy, the educational benefits of Indian classical dance, and digital learning theories to create a blended learning model. The Gurukul system – characterized by personalized mentorship, holistic learning, and the sacred guru–shishya relationship – is adapted to modern educational contexts. Indian classical dance is positioned as a rich educational practice that enhances cognitive, emotional, physical, and cultural development. The integration of digital technologies, guided by the TPACK framework, enables scalability, accessibility, and interactive learning experiences. The proposed hybrid model consists of five key components: mentorship pathways, experiential and embodied modules, theoretical knowledge and cultural context, feedback and assessment systems, and community engagement. The framework aims to balance personalization and scalability, tradition and innovation, synchronous and asynchronous learning, and artistic rigor and accessibility. By leveraging digital tools to complement and extend the reach of the guru, the hybrid approach seeks to preserve the essence of the Gurukul pedagogy while meeting the needs of contemporary learners. The conceptual model posits that this blended approach will foster deeper engagement, cultural enculturation, and creative capacities among students. This research lays the theoretical foundation for implementing and testing the Hybrid Gurukul–Digital Pedagogy in real-world Indian school settings.

Music performance is now recognised as a multisensory experience where both sound and sight contribute to its transmission and reception. The challenge for music education is to disseminate recent performance science research findings in this area into the curriculum using engaging and meaningful strategies. Practice without access to key research does not adequately prepare future music professionals as critical thinkers about, and evaluators of, music performance production and reception by themselves and by others. This study reports on a multisensory experiential learning workshop which aimed to equip university music students with knowledge and skills to capitalise on their inherent perceptual capacities. In doing so, students’ responses demonstrated an understanding of how to unlock tacit knowledge about performing and appropriate music perception skillsets which can be drawn into their own performing.

This reflection on practice is based on an Interview with jazz musician and educator Harald Rüschenbaum and explores his pedagogical philosophy and practice through the lens of his work with the Bavarian State Youth Jazz Orchestra and their concerts in state schools. Rather than viewing music as a fixed curriculum or performance, Rüschenbaum frames it as a process of encounter, openness, and mutual discovery. His approach emphasizes improvisation, both musically and pedagogically. Acting simultaneously as a performer, mediator, and mentor during these concerts, Rüschenbaum creates spaces where children and musicians from the orchestra can engage experientially with jazz. He advocates a learning-by-doing model supported by reflection, where individual curiosity and collective connection are central. This article highlights how his methods aim for genuine engagement and position jazz-oriented music mediation as a dynamic interplay between people, sounds, and context – being less about conveying knowledge and more about enabling shared musical experiences.

Prosignification is defined as the process through which the subject generates new meanings by engaging in aesthetic experience, critical reflection, and creative action. Unlike general theories of meaning-making, which primarily describe the cognitive organization of experience, prosignification foregrounds the symbolic–expressive dimension as the central site of meaning production. It refers to the individual and collective capacity to construct meaning from expressive and symbolic experiences, integrating cognitive, emotional, social, and cultural dimensions of learning through intentional creative mediation. Prosignification operates between knowledge construction and subjective experience, enabling learners to connect conceptual understanding with personal interpretation and emotional involvement. Whereas knowledge construction emphasizes epistemic development and transformative learning focuses on perspective transformation through critical reflection, prosignification centers on the aesthetic reconfiguration of experience through symbolic creation and interpretation. Rooted in constructivist and experiential approaches, it unfolds through active, student-centred methodologies, particularly in Project-Based Learning contexts. However, its distinctive contribution may lie in integrating reflection, expression, and creation as interdependent mechanisms of meaning generation. Art education constitutes a particularly relevant context for this process, as its symbolic nature fosters the embodied and shared construction of meaning. Thus, prosignification cannot be reduced to cognitive restructuring or attitudinal change but involves the expressive re-symbolization of lived experience.

This article proposes an ethno-epistemic approach to teaching ontology in the performing arts at the postgraduate level. Ontology is often introduced to students as an abstract philosophical concern, detached from artistic practice and cultural experience. This article reframes ontology as an interpretive inquiry grounded in cultural knowledge, embodied encounters, and reflective analysis. Drawing on scholarship in the anthropology of knowledge, cultural cognition, linguistics, and adult learning theory, the article develops a pedagogical approach that treats students’ cultural backgrounds, artistic lineages, and experiential histories as epistemic resources rather than contextual noise. The discussion does not present an empirical evaluation of learning outcomes. Instead, it offers a theoretically informed articulation of course design, assignment structure, and reflective sequencing that operationalize ethno-epistemic principles in teaching practice. Ontological understanding is framed as emerging through cycles of observation, field-based engagement, analytical writing, and formative feedback. These pedagogical processes support students in identifying and interrogating the cultural assumptions that shape how performance meaning, action, and presence are interpreted. The article positions the proposed approach as context-dependent and provisional rather than universally generalizable. Its contribution lies in clarifying how ontological inquiry can be pedagogically organized in culturally diverse postgraduate settings, where performance traditions carry distinct epistemic and ontological logics. The ethno-epistemic approach advances discussions in performing arts pedagogy by shifting ontology from a static conceptual domain toward a culturally situated practice of interpretation.

A polymath, a person of wide‐ranging knowledge or learning, is the one‐word encapsulation of Leonardo da Vinci. Especially the latter, learning, much of Leonardo’s attributable achievements are contributions and explorations in areas of study modernly categorized as anatomy, architecture, engineering, painting, and illustrations were accomplished because of his insatiable love of learning and curiosity. Given Leonardo’s illegitimate birth status he could not attend the formal “Latin Schools” of the period. Instead, through experimentation and observable experience, a self‐directed and self‐motivated learning style arose. Leonardo stated “They will say that because I have no book learning I cannot properly express what I desire to describe – but they do not know that my subjects require experience rather than words of others.” Framed in the transactional epistemology of experiential learning theory, this study sought to explore what anatomy educators can learn from the life’s work of Leonardo and what can be extricated from his mindset and knowledge integration. Specifically, the aim of the study is to describe Leonardo’s lifelong learning through the lens of experiential learning in the context of cardiovascular (CV) anatomy, as Leonardo integrated knowledge of apprehension (i.e., empiricism, observation) and comprehension (i.e., rationalism, using of “theory” or concepts) into an understanding of the function of the aortic valve.

This study presents empirical evidence supporting the integration of artmaking into place‐based ecological field courses as an impactful pedagogical tool. Undergraduate field courses in ecology promote experiential learning by immersing students in hands‐on activities and observations within natural settings. These experiences have well‐documented and transformative impacts on students' identity development, attachment to nature, and well‐being. Certain visual arts practices, like ecological art, mirror the experiential nature of field courses through hands‐on creation and reflective engagement with landscapes. Despite this overlap, the educational value of integrating the visual arts into place‐based field courses in ecology remains understudied. Here, we introduce a sample course design, evaluation method, and results from a seven‐week intensive field course in the ecological arts for undergraduates at Cornell University. In this traveling course, titled Earth Projects, students draw upon scientific and cultural knowledge to create place‐based artworks. We incorporated a Likert‐type survey into a pre‐post study design to assess a range of student outcomes—including identity, belonging, and place attachment—over two years. A long‐standing traditional field course, Field Biology, served as a comparison group for one year. Results suggest that field courses integrating art and ecology may support the development of multifaceted identities, a sense of belonging to the environmental sciences, and stronger place attachment on various regional scales. Given these findings, we propose a reimagining of curricula in ecology and environmental science to incorporate the ecological arts. We conclude with recommendations for educators wanting to introduce similar courses at their institutions.

Music theory learning is a conceptual foundation in performing arts education, but in practice it is often perceived as an abstract subject that is detached from students' artistic experiences. This study aims to examine music theory learning from a pedagogical and aesthetic perspective and to formulate principles for its development based on a praxial music education framework and humanistic pedagogy. This study uses a descriptive qualitative approach based on classes of students in the performing arts education study program, with the researcher acting as a practitioner-researcher who conducts systematic observation and reflection on the learning process. Data were collected through classroom observation, student reflective journals, semi-structured interviews, and analysis of learning documents, then analyzed using thematic analysis techniques. The results showed that the integration of theoretical concepts with musical practice, aesthetic reflection, pedagogical dialogue, the use of digital technology, and cultural relevance transformed music theory from procedural knowledge into musical meaning-making practice. This approach improves students' aesthetic sensitivity while strengthening the construction of their professional identity as prospective art educators. This study confirms that music theory learning is designed in an integrative and contextual manner as an epistemic and humanistic practice, transcending its traditional function as mere transmission of structural knowledge. 

The National Education Policy (NEP) 2020–2025 is a big reform for India's schools. It encourages learning in many areas, the growth of the full person, and the application of Indian knowledge systems like music. This article talks about how NEP 2020's concepts could revolutionise how schools teach, practise, and think about Hindustani Classical Music. It looks at how Tagore's aesthetic and experiential paradigm and NEP's forward-thinking view might fit together. It is based on Rabindranath Tagore's beliefs about education at Santiniketan. By mixing old and new approaches of teaching, the paper talks about curriculum design, using technology in the classroom, educating teachers, evaluating students, and creating learning environments that are open to everyone. This study combines qualitative analysis to create a big picture that links classical music instruction with NEP's objective. This paradigm lets things stay the same while also moving forward. Keywords: NEP 2020, Hindustani Classical Music, Music Pedagogy, Indian Knowledge Systems, Interdisciplinary Education, Cultural Heritage, Tagorean Philosophy, Experiential Learning, Music Curriculum Reform.

This study investigates how Korean jazz musicians come to recognize themselves as jazz musicians and examines the essential structures of their professional identity as revealed in their lived experiences. In-depth interviews were conducted with ten musicians active in the Seoul metropolitan area, and the collected data were analyzed using Giorgi’s phenomenological method, which involved identifying meaning units and articulating their structural transformation. The analysis indicates that the professional identity of jazz musicians does not stem from external naming or institutional classification. Instead, it begins when musicians declare this identity for themselves through transformative experiences such as a first jazz-club performance, a first album release, or the receipt of a first performance fee. The acquisition of jazz idioms appeared not as the accumulation of knowledge or technical skill, but as an embodied practice developed through repeated rehearsal and ensemble playing. Interactions with fellow musicians and audiences on stage served as moments in which performers reaffirmed their identity. Even under persistent structural constraints, including unstable compensation and limited public recognition, the musicians sustained their identity through teaching, session work, and various forms of non-musical labor. This study shows that the professional identity of jazz musicians is a dynamic and relational process that is continually reconstructed through experience and practice. It also provides empirical insights into the contemporary Korean jazz ecosystem, contributing to a more grounded understanding of identity formation in artistic labor.

No abstract available

Improvisation is central to creative behavior across artistic and everyday domains, yet it is often portrayed as either pure freedom or rule-bound execution. While research in music and dance has shown that improvisation draws on structured kinesthetic vocabularies, less is known about how cultural rhythm and embodied memory interact in real time within and across genres. This study addresses that gap through ethnographic fieldwork in West Africa, where the first author, trained in contemporary dance, engaged in learning and performing Malian djembe dance. Drawing on autoethnography with a phenomenological orientation, alongside participant observation and conversations with Malian drummers and dancers, the analysis examines how kinesthetic and procedural memories inform real-time performance. Findings suggest that improvisation operates through culturally specific ways of sensing and attending to movement: dancers navigate genre-specific repertoire, rhythmic cues, and bodily affordances to evoke and transform embodied material. However, rather than merely reproducing fixed repertorial units, dancers also reconfigure embodied resources such as movement qualities in responsive and inventive ways. Our research supports the view of improvisation as structured play rather than unbound invention and advances the discourse by emphasizing the reconstructive play of embodied recall—how cultural and personal memories are recomposed in performance. Overall, the study contributes to understanding improvisation as a cognitive and cultural process: not the free invention of form but the creative reorganization of embodied memories within shared perceptual and rhythmic systems.

The biomechanical requirements and motor learning processes associated with executing Ope Manque Wayi, a traditional Gaddang courtship dance that originated in Nueva Vizcaya, are examined in this study. The dance, which has its roots in themes of love, treachery, and resiliency, uses a variety of physical and motor abilities in addition to embodying cultural narratives. In addition to evaluating how inexperienced dancers advance through the phases of motor learning, the study aims to investigate the movement efficiency, joint articulation, muscle engagement, and balancing mechanics displayed during the dance performance. A combination of observational scoring rubrics, dancer notebooks, and video-based motion analysis was used in this mixed-method approach. During a four-week training program, sixteen student participants, ages 17 to 21, who had no prior experience with traditional dance, had their biomechanical execution and motor learning progress monitored. Particular motions including the waltz turns, engaño step, kumintang kneel, and malong spin were assessed for postural control, rhythmic timing, and muscle coordination. According to the results, the dance requires a high degree of proprioceptive coordination, lower limb strength, dynamic balance, and spatial awareness. By the end of the training, participants’ timing, posture, and expressive quality had significantly improved, demonstrating a move from cognitive to autonomous learning stages. The results support the inclusion of Ope Manque Wayi in physical education and therapeutic movement programs as a culturally relevant performance and a useful tool for developing motor skills.

Reflection is a crucial process for advancing craftsmanship. Much of craft knowledge is tacit, which cannot be easily conveyed through language, therefore leaving post-action reflection largely relying on personal recollection. Existing methods such as visualizing physical performance via video-recording have been used to support the reflection of craft practitioners, but they struggle to capture the subtle bodily actions and perceptions central to craft. To address this gap, we collaborated with seasoned potters to develop a system called EmbodyCraft. It can record muscle activity and fingertip vibration when the potter touches the clay, which then translates into tactile stimuli for post-action reflection. Comparing findings from two workshops with potters of varying experience levels, we observed that supplementing conventional video-based reflection with our haptic cues helped reveal subtle force patterns and correct misconceptions about both one’s own and others’ actions. These preliminary results suggest a potential for deeper skill understanding during reflection, as well as more nuanced communication in skill-based discussions.

Background Chinese zither music relies on culturally specific microtones (e. g., FA+ and TI–) that differ from Western equal temperament, yet prolonged exposure to standardized tuning often leads to the erosion of these traditional intonation practices. While embodied cognition theory emphasizes the role of sensorimotor integration in learning, its application to the acquisition of non-fixed pitch systems in intangible cultural heritage music remains underexplored. Objective This study aimed to examine whether a structured auditory-vocal embodied training protocol—integrating listening, vocal imitation, and metaphoric gestures—could enhance zither learners' accuracy in producing traditional microtones, and to provide empirical evidence for the effectiveness of embodied cognition theory in sustaining culturally authentic musical intonation. Methods A quasi-experimental design was employed with 63 intermediate-level zither students. Participants were assigned to an experimental group, which completed a 1-week auditory-vocal-gestural training program, or a control group, which continued regular practice without multimodal integration. Pitch accuracy on two critical tones (FA+ and TI–) was assessed through pre- and post-tests. Results The experimental group demonstrated significantly greater improvement in Chinese-style pitch accuracy compared to the control group, along with a marked shift in intonation perception away from equal-tempered biases. Conclusion The findings indicate that multisensory embodied training, grounded in the principles of perceptual-motor coupling and gestural simulation, effectively promotes the internalization of traditional microtonal intonation. This study not only offers a novel pedagogical approach for preserving intangible cultural heritage in music education but also substantiates the role of embodied cognition in acquiring culturally situated sensorimotor skills.

Chinese calligraphy, a vital carrier of traditional culture, extends beyond technical skill acquisition to cultivate cultural identity and aesthetic literacy. This study explores a tripartite pedagogical model—the "Eye, Mind, Hand" (EMH) model—through a fourth-grade soft-brush calligraphy lesson focused on the radical “日” (rì, sun). The EMH model integrates visual appreciation (uncovering aesthetic essence), cognitive contemplation (decoding structural principles), kinesthetic execution (technical internalization), and creative synthesis (cultural embodiment). Empirical evidence demonstrates its efficacy in resolving students’ structural imbalances and erratic strokes, significantly improving writing quality and cultural awareness. Calligraphy education must transcend rote practice, activating cultural heritage through an iterative cycle of “observation-contemplation-practice-creation”. This approach supports moral education and holistic development in contemporary pedagogy.

No abstract available

MOCK – UP / JUNK LAB is a semester experiment within the Architectural Workshop course (9th semester), aimed at encouraging research and expanding knowledge about sustainable materials and their potential use in contemporary architectural and artistic practices. The specificity of the task requires a specific method (hands-on practice), where students, by exploring materials, come to new insights and acquire new skills, which significantly differs from traditional educational methods. The new knowledge acquisition experience is based on interdisciplinarity, which integrates both technical and artistic knowledge. By investigating the local context, students map a problem that can become a resource for creating a new material sample. In this sense, reuse gains a new value as a building material, which, in the final stage of research, becomes a usable product. Throughout the research process, the focus is on sustainability methods, ecological principles, participation, social responsibility, as well as the evaluation of the afterlife period.

This paper presents a framework for the instruction of Leatherwork and practical programs aimed at skills acquisition. The development of the pedagogical framework was inspired by observations of teaching and learning in Leatherwork, as well as a series of interviews conducted at the Department of Art and Design Innovation at Tamale Technical University. Additionally, the framework draws from various models, including Technological Pedagogical Content Knowledge TPACK developed by Koehler and Mishra (2009), the Successive Approximation Model (SAM) model, and the Analysis, Design, Development, Implementation, and Evaluation (ADDIE) model as proposed by Molenda and Pershing (2003), along with the Ghana National Teachers Guide (2017) in conjunction with established teachers' standards. The pedagogical framework is designated TPPSA. The development of the Teacher Practical and Pedagogical Skills Acquisition (TPPSA) framework is essential for the effective teaching of both content and practical knowledge in technical universities. This structured framework is designed to facilitate skills acquisition among technical university students. This paper commences with a brief introduction to leatherwork as a practical program within Ghanaian technical universities, thereby situating the pedagogical framework within the context of leatherwork. Additionally, it addresses the challenges associated with the teaching and learning of practical courses in technical universities, which underscore the necessity for the development of the TPPSA pedagogical framework. The TPPSA framework for skills acquisition is articulated in detail as a complex interaction among three domains of knowledge: teacher philosophy, pedagogical strategies, and practical skills. The interplay of these domains, both theoretically and in practice, engenders the flexible knowledge required to effectively cultivate content knowledge and practical skills among students in technical universities.

The fluidity, adaptability and complexity of a dancer's movement are often used as examples of how dance at a level of mastery is embodied. The freedom this gives the dancer to choose what and how they move is enjoyed at a subconscious level, with often tacit knowledge driving the artistic and technical brilliance. The topic of embodied agency in dance becomes more complicated when examining dance for the older person who has had little training. Embodiment is not straight forward, particularly if one examines dancing for the older adult with a neurodegenerative condition, which disrupts cognition and physical movement. Yet, as I argue, embodied agency is a key vision for socially engaged dance practices, particularly using improvisation. In the paper I examine how centring the amateur older dancer with a neurological condition means looking again at embodied agency and what it could mean in this context, as well as what the conditions are that might make it work. The paper takes the example of Dance Well, a group of community dancers in Italy that accommodates people with Parkinson's and others, including those seeking asylum. With this example I draw upon ideas from research I co-led to name some of the tacit soft skills—such as empathy and understanding and appreciating difference—developed through Dance Well's engagement with the local community, which, I now suggest, led to a process of embodied agency. I argue that in identifying this anoetic knowing, it is clear that embodied agency is not just about mastery of movement, but about important relational skills that are embodied and practiced through dancing, even by those with little formal dance training. I argue that moving together whilst embodying soft skill qualities may nurture an environment that could enable the transformation of relationships between those dancing and contribute to the creation of an important and meaningful activity within the community. In this way, the paper outlines ideas on how embodied agency through dancing may contribute to a vision of social justice and a characterization of embodiment that emphasizes the recognition of each other's humanity.

As professional practice and tertiary education face unprecedented challenges, this Special Issue explores the evolving landscape of costume pedagogy. Climate change, social inequity and technological advancements are just some of the issues which are challenging costume educators to create and implement innovative teaching methodologies and approaches. Their focus includes the decolonization of curricula, emphasizing non-western perspectives and re-emphasizing the importance of critical thinking, problem-solving, collaboration and co-creation in educational settings. Additionally, this Special Issue examines efforts to de-gender costume education, reflecting cultural shifts towards more fluid understandings of gendered identity. The integration of digital technologies in costume design is also illuminated as an emerging learning outcome, recognizing the balance between traditional craft skills, embodied awareness and technological proficiency in engaging students. Contributions come from educators across the globe, working in Australia, Canada, Finland, Italy, New Zealand, the United Arab Emirates (UAE), the United States and the United Kingdom, who offer diverse insights and practices aimed at invigorating costume pedagogy. This global reach is emphasized by the inclusion of practices inspired by the costume-related activities at Prague Quadrennial (PQ2023), demonstrating the enduring impact of such international exchanges. This Special Issue presents a snapshot of current trends and future directions in costume education, ultimately advocating for a dynamic, inclusive and responsive educational environment.

Embodiment and bodily experiences are vital parts of the development and learning in the early years. Children are believed to develop their thinking processes and language skills through sensory and motor experiences when entering and participating in early childhood education (Sommer, Samuelsson & Hundeide, 2009). The embodiment and kinesthetic experiences in education can be understood as modalities of learning, especially play, and thus the pedagogical scaffolding of those by teachers can be analyzed through translanguaging approach (see Kaihovirta & Furu, 2019). The Finnish early childhood education and care (ECEC) is known for the EduCare approach. Children are considered active agents and the whole child approach is considered the basis of educational activities and interaction (Kangas, Ojala & Venninen, 2015). Recognition of the whole child and viewing the development through social, physical, and mental aspects have been rooted very strongly in pedagogical philosophy and practices in ECEC Finland through the playful learning approach (Kangas & al. 2019). In this paper we emphasize the importance of the visual environment, design learning process, and expression of young children’s embodiment in learning in the early childhood education context. In this study we focus on 2-3 years old toddlers' visual and kinesthetic expressions of bodily learning and embodiment. Bodily learning means active learning experiences that early childhood education should include within everyday interaction and learning environment. Embodiment in learning practices is essential for children in the senso-motor or pre-operational phase of development because children show, touch, mimic and think by doing. In other words, they are learning by doing (Dewey 1916; Leinonen & Sintonen, 2014). The research questions are: 1) How do the learning materials scaffold children’s participation and meaning making? 2) How are the embodiment and active learning used as a tool for communication and interaction between children and teachers? We understand embodiment learning as visual and bodily expressions of agency, participation, and learning. These aspects are understood as modalities of interaction, language, and communication. With young children it has been shown that translanguaging takes place through movement, gestures, expressions, and emotions as well as a spoken language(s) (Leinonen & Sintonen, 2014). The study was conducted as video observation of learning design of two kindergarten groups with one teacher and 6 to 7 children in each. The study takes place in the Playful Learning Center (PLC). The PLC is a learning laboratory in University of Helsinki, that is specially designed to scaffold young children's visual and kinesthetic exploration and expression through play and playful activities (Sefton-Green et al. 2015). The observation data were analysed through content analysis using researchers’ triangulation to discuss the visual communication and embodiment themes.

The purpose of the research is to substantiate the specificity of male singing skills as the first and leading in the history of musical and cultural events and to formulate the fundamental methodological and singing differences in religious-ritual and theatrical-opera detections. The methodological basis is the intonation approach as an idea of the genetic commonality of musical thinking and speech in the traditions of the concepts of B. Asafiev and B. Yavorskyi in Ukraine, which is presented in the works of D. Androsova, O. Kozarenko, O. Markova, O. Ohanezova, O. Roshchenko, O. Sokolova, V. Shulhina. Scientific novelty is manifested in the independence of classification developments regarding the characteristics of male singers in the ritual-religious and theatre-opera spheres, for the first time in the musicology of Ukraine and China, it is pointed out the fundamental difference between the religious and ritual detection of singing, mostly male, in register-interval indicators, which are incompatible with speech detections as signs of materially-real sound experience. Conclusions. From the ritual-religious primacy comes the practice of focusing on the voice detection within the framework of ritual-religious actions of sounds associated with supernatural abilities of contact with the extra-human world, the basis of which is the male voice, able to master the registers accessible to women's vocal expression, which is later fixed in the falsetto singing of men, although the distinctive side of sacredness both in the West and in the East is the skill of male fables. The transcendental meaning of such ritual sound expression is reinforced by interval-register measures, among which either "drumming" on one or two sounds or interval-register "jumps" that remove the respiratory-speech "wave" line of pitch sequences prevail. Theatrically, the operatic approach, relying on the artificiality of vocals (as a legacy of European church practice) or its analogies in the Chinese singing tradition, metaphorically and consistently combines that singing artificiality with speech-pathetic inflections, i.e. compensatingly combining the experience of addressing the superphysical world with speech-physical sound signs.

This exposition takes as its departure the systemic inertia identified within Western Higher Music Education (HME), where education is driven by skill acquisition in a master–pupil format. Such approaches may hinder the growth of adaptable and reflective musicians. We propose an alternative: student-centred learning inspired by artistic research methods. To explicate this, we draw on findings through our own artistic research practices. Our hypothesis is that the model of the artistic, embodied research laboratory, as developed within the field of artistic research, may serve as a potent tool for renewal. By analysing our work as artist-researchers and educators, this exposition offers insights that support rethinking both institutional structures and pedagogical approaches in HME. Our aim is to strengthen student agency in learning situations and set them off on a path of lifelong learning. This research demonstrates that artistic research laboratories can provide practical frameworks for transforming HME pedagogy, offering educators concrete methods for fostering playful, inclusive, and sustainable learning environments whilst empowering students as active agents in their musical development. keywords:

Abstract The authors present five practical activities that easily interweave into a dance class to enhance student confidence, focus, mental well-being, and skill development. Each activity is one to four minutes in length from teacher instruction through student performance. The pedagogy practices are applicable for all ages, levels of dance, and styles of movement. The tasks within each activity draw on concepts from evidence-based research in embodied anatomy, motor learning, and mental training. They are designed into user-friendly exercises for the dance class as well as fun applications for integrating the wellness practices into daily life beyond the dance classroom for both the student and the dance educator.

This study aims 1. To explore the roles of teachers, students, and inheritors in integrating Guizhou ethnic craft skills into vocational art education, 2. To investigate the contributions of theoretical cognition, practical ability, and innovative development to improving the integration of Guizhou ethnic craft skills into fine arts education. The quantitative data showed that teachers, students and, inheritors, pedagogy-based theoretical cognition, practical ability, and innovative development all had a significant impact on the integration of ethnic skills into the teaching and learning of art education in higher vocational colleges and universities in Guizhou, with practical ability being a key issue in the integration of ethnic skills into the teaching and learning practice of higher vocational art education. The results of the study presented that 1) the significant positive correlations with the influence of the inheritor are, in order of ranking, teaching practice with the integration of ethnic skills, teaching design with the integration of ethnic craft skills, cultural heritage with the integration of ethnic skills, skill mastery with the integration of ethnic skills, and teaching evaluation with the integration of ethnic skills, 2) the theoretical cognition, practical ability, and innovative development would have a significant positive influence on the integration of ethnic craft skills into the teaching practice of higher vocational art education.

The integration of Indian crafts into architectural design education serves as a multifaceted approach, enriching students' understanding of India's heritage while fostering an appreciation for the cultural and environmental significance of craft traditions. This paper delves into the pivotal role of crafts in Indian lifestyle, emphasizing their intrinsic connection to the sense of place and space. By infusing this perspective into the curriculum, architectural education can cultivate a deeper sense of belonging and rootedness among students. Craft-based learning facilitates hands-on experience and direct engagement with building materials, nurturing experiential learning and iterative design processes. The paper highlights the detrimental impact of the declining appreciation for craft in pedagogy on architecture students' ability to generate original design ideas. By reinstating craft as a fundamental component of architectural education, educators can foster creativity, innovation, and a profound understanding of the built environment. The research methodology employs a comprehensive approach, utilizing both quantitative and qualitative analysis, including insights from faculty perspectives gathered through questionnaire surveys. The findings contribute to the ongoing discourse on transforming architectural education, aiming to establish a framework where craft integration is evident across the curriculum. By intertwining Indian crafts with architectural design education, this research aims to cultivate a holistic approach that not only imparts practical skills but also fosters a deeper connection to India's cultural heritage and environmental consciousness.

This paper reports a case study of a hybrid furniture-design studio framed by design pedagogy and experiential learning. It examines how hybrid making can reconcile digital fabrication with analogue craft, structuring learning as a process of “research through making” (McCullough, 2005) grounded in experiential learning theory (Wang, 2025). The course integrated digital modelling, 3D printing, and laser cutting with mould-making, ceramic slip casting, and woodworking, supported by iterative feedback from instructors and professional makers. Rather than treating digital tools as endpoints for production, they were employed as intermediary instruments for exploration, material testing, and reflective refinement. Drawing on Ingold’s (2012) account of material agency, students engaged with resistance and unpredictability as productive conditions for iteration. The study argues that material imperfections and production irregularities act as pedagogical catalysts—encouraging creativity, adaptability, and sensitivity to material behaviour. Findings indicate that hybrid workflows enhance creativity and reflective practice while deepening students’ material literacy. Ultimately, the paper contributes to debates in design pedagogy by positioning hybrid making as a model for process-based, materially engaged learning.

The architectural design studio, with its dynamic and expanding scope, challenges traditional academic boundaries and bridges academia and practice by providing an integrated structure. A pedagogy based on experimentation transforms the studio into a laboratory where research and design merge, exploiting the unpredictable benefits of hands-on experience. Accordingly, this study explores experimental pedagogical fictions and tools aimed at integrating material experimentation into studio education, expanding its scope to encompass various craft mediums. It adopts a descriptive and exploratory qualitative methodology, combining theoretical and practice-based methods. It takes atelierz, a vertical architectural design studio, as a case study. Firstly, drawing on Gilles Deleuze’s philosophy of creative experimentation, a philosophical interpretation of the pedagogical fiction of the studio is made on contexts, tools, and actors. Secondly, focusing on the experimental possibilities offered by tools of installations and prototypes, and analyzing their pedagogical use in the architectural studio, the thematic frames of materials, methods and tools, interdisciplinary connections, engagement modalities, and field of discovery are used to evaluate material experimentation. Based on two semesters of atelierz’s visual and physical outputs and process documentation, the findings demonstrate the impact of installations and prototypes on understanding, designing, and applying materials, developing technical skills, transforming non-disciplinary knowledge, mediating exploration, and structuring specialized field of inquiry. This research highlights the pedagogical value of material experimentation and contributes to architectural education by providing knowledge and experience of the studio fictions developed, the pedagogical tools employed within these fictions, and their use for material experimentation.

Working with physical models involves craft as a form of ongoing research – through gestures, through both physical and intellectual acts. Among the tools of architectural design, models most vividly reveal time as fundamental to architectural quality. The haptic and reflective process of model-making fosters a unique, irreplaceable form of spatial knowledge. This paper examines the performative and heuristic dimensions of model-making in the design studios the authors lead at the University of Naples Federico II. Methodologically, it draws on complementary case studies, such as design studios projects in undergraduate courses, and exhibition installations based on the reinterpretation of notable architectural examples. In each, the design process begins from fragments to construct imaginary reference points, thereby generating unforeseen spatial scenarios. The pedagogical objective is to re-center manual practice amid a broader trend toward the dematerialization of digital processes. Through attentive ‘care’ in making, students acquire tacit knowledge of material potentials: they learn how fragments articulate possibilities and, in turn, how design can remain open-ended rather than merely representational. This counters the challenge in contemporary pedagogy of privileging abstract workflows over embodied making. Work- ing with physical models in design studios involves craft as ongoing research – through gestures, physical and intellectual acts. Among design tools, models best reveal time as the key to architectural quality. The haptic, reflective process of model making builds unique, irreplaceable spatial knowledge. Composing fragments suggest a practice rejecting traditional completeness. Rather, it is understood as a process carried out through partial elements that generate perspectives and allow the viewer to contemplate shapes under light and the possible futures of the projected design idea. By situating fragments at the heart of studio pedagogy, this work introduces a new perspective on architectural education: design proposals become non-rigid schemas, modifiable in response to emerging conditions. The architect and architecture student thus inscribe themselves within a transforming world, re-activating the generative power of formal configuration as a means to envision – and enact – alternative realities.

A small piece of Malaysia’s Peranakan heritage, Baba Nyonya beaded shoes reflect a beautiful blend of culture, history and craftsmanship. This paper is a qualitative study that investigates Baba Nyonya beading as an avenue for cultural pedagogy within the dynamics of modern education in an era where heritage is observed through passive consumption rather than active practice. Cultural practices such as Baba Nyonya beaded footwear should be integrated into education systems, especially with the impact of globalization that is swallowing borders between communities and languages which require efforts to sustain cultural identities. This study explores the ways local artisans are experiencing the integration of this craft into classrooms prior to establishing their ethnographic links that may contribute toward cultural awareness, pride, and identity development. The results suggests that cultural pedagogy can help uphold traditional knowledge, promote cross-cultural understanding and root the students more strongly within their culture. Such practices, however, require further research to gain insight into their effect on the students learning cultural competencies and finding their place in an increasingly globalized world. The study encourages the persistence of traditional crafts in the academic syllabus as a way to preserve cultural treasures such as Baba Nyonya beaded shoes and passing it down through generations where it would continue enjoyed.

This study examines the history of craft education, especially in the context of social and temporal changes, and envisions its future based on narratives collected by student teachers at two Finnish universities. The research material covers essay responses that discussed the future of craft education in the light of forecasted megatrends. The essay responses were analysed using narrative methods, and the results are presented as visions of the priorities and content of future craft education. While craft teaching today emphasises technology, well‐being and communal living, the growth of digitality, sustainable education and materiality is likely to continue in the future. We envision that future craft education will focus on pedagogical content rooted in craft traditions, with a strong emphasis on skills education.

(Visual, Auditory, Kinesthetic) learning model in improving students’ understanding of movement dynamics in the traditional Tari Umbul dance, taught through the Cultural Arts and Craft (SBdP) subject in elementary school. The research was conducted at SDN Sindangwangi with 15 third-grade students as participants. Using a pre-experimental one-group pretest-posttest design, data were collected through cognitive and psychomotor tests, observation, and documentation. The VAK model was integrated into four structured learning sessions that combined visual media (videos, slides), auditory elements (verbal explanation, music), and kinesthetic activities (direct dance practice). The results showed a significant increase in both cognitive and psychomotor learning outcomes. The mean pretest score for cognitive skills was 58.3 and increased to 81.6 in the posttest, while the mean psychomotor score rose from 50.5 to 82. The N-gain scores were 0.56 for cognitive and 0.64 for psychomotor domains, both categorized as moderate effectiveness. Statistical analysis using the Wilcoxon signed-rank test confirmed that the improvement was significant (p < 0.05). Observational data also supported these results, showing higher student engagement, confidence, and motivation during VAK-based instruction. The study concludes that the VAK model not only provides a meaningful multisensory learning experience but also contributes to the enrichment of culturally responsive pedagogy in elementary schools. By integrating local cultural content with multisensory strategies, this approach strengthens active learning, supports holistic student development, and offers a practical framework for enhancing the preservation and transmission of traditional arts within formal education.

Recent scholarship has acknowledged the importance of materiality, body senses and sensible knowledge in understanding knowing in practice, although humans and their practices are still privileged. In response, we examine how vital materiality, or the capacity of things, constitutes the practice of knowing, including in relation to and with the body and bodily senses. This focus is relevant for management education and learning, sharpening our view of what practices and knowing matter most. Drawing on a study of 20 studio potters, involving observation, interviews, and participation in a pottery course, we reveal the agentic power of the material in constituting the practice of knowing, in the resistance of the material, the accidental and unpredictable encounters between material, and the loss of self in, and a subversion from, the material. We show what constitutes “embodied learning” for knowing in practice is the generation of a specific materialized sensitivity of—attunement, sensitivity to risk, and subversion—through the vitality of matter. Offering a stimulus to rethinking subjectivity and positionality in our pedagogy, we propose that to truly unsettle the human-centric practices of teaching and learning, we need to develop a specific “materialized sensitivity” in our pedagogic activities and entanglements.

This study explores how Chinese intangible cultural heritage (ICH) inheritors transform from traditional artisans to cultural educators. Through structured narrative analysis of six inheritors across Shu embroidery, sugar painting, and New Year paintings, it examines identity formation, pedagogical strategies, and adaptive transmission. Findings reveal a shift from skill-based preservation to symbolic, participatory, and media-integrated teaching. Importantly, ICH inheritors emerge as active agents and curriculum co-designers, bridging tradition with contemporary educational needs. Their roles are essential in sustaining cultural knowledge and shaping dynamic, youth-oriented heritage education.

Creative practice doctoral education and supervision are fields in constant flux, as they require the flexibility to engage with organic and symbiotic processes and complex systems of inquiry. As interdisciplinary educators working across the fields of media and communications studies, cultural studies, art and design, the authors reflect upon supervision experiences to generate insight into current creative practice doctoral education modes and approaches within the academy. These experiences provide tangible examples of the flexible supervision framework developed by the authors as a means to improve the doctoral experience for their students. By sharing the process by which this framework has developed, this paper offers a conceptual take on creative practice doctoral supervision, acknowledging a need for more engaged discussions and exploration of creative practice research and supervision approaches. The authors offer insights about the role supervisors can play in crafting methodology, catalysing innovation and supporting students as they navigate institutional processes and support structures (or the lack of). The authors argue that it is necessary to form a flexible and adaptable framework to support and sustain nuanced modes of creative practice doctoral supervision and research design. Drawing on the authors’ experiences of doctoral supervision and articulating complementary pedagogical approaches, this study offers a flexible supervision framework that provides an adaptable toolbox for supervisors of creative practice doctoral research and incorporates the idea of thinking through making. Moreover, supervisory experiences have led authors to explore ways to enable supervisors to collaborate with doctoral students in carving or weaving methodologies. Recognising the exploratory and fluid nature of creative practice research, this paper offers a flexible framework that enables supervisors to draw from and adapt complementary pedagogical tools through different stages of the doctoral project. While this framework supports supervisors to respond with agility and creativity as the project develops, this in turn provides an environment where students can drive the research with confidence and eventual autonomy. In addition to offering a flexible framework, this paper invites further discussions, reflections and sharing of creative practice doctoral supervision as a means to invigorate the field of supervision and improve students’ research journeys.

Abstract This essay illustrates my pedagogical approach on the MA in Critical Craft Studies (MACR) and explains some of the philosophical commitments that underpinned my teaching there. Working as Core Faculty on the program for three years, I regularly led students through embodied ethnographic trials as a way to help them tune their attention to the kind of everyday understanding so often overlooked in academic research. In addition to being the kind of understanding usually expressed in craftwork, this bodily perceptual engagement is – I argue here – our most basic and fundamental way of knowing. With the closing of the MACR program, we lose one of the few spaces with a dedicated focus on this kind of learning.

Abstract This Statement of Practice speaks to my role as the Program Coordinator for the MA in Critical Craft Studies at Warren Wilson College in Swannanoa, North Carolina from 2018 to 2020. I share how I initially connected to the program and how the program’s pedagogical frameworks and expansive community continue to influence my scholarly and artistic practices. Inspired by the writings of Anni Albers, Hernán Díaz, Gertrude Stein and Pablo Neruda, I focus on the networks of relationships which made the program unique. Through my own experiences as an administrator, weaver, folklorist, and current PhD student, I show that craft is grounded within an ecology of historical, contemporary, and potential future relationships which are made tangible though material objects, enlivened by stories, and find resonance though teaching, learning, writing, and curatorial opportunities, as demonstrated by the MA in Critical Craft Studies program.

This article delves into the intricate relationship between criticism and aesthetics, emphasizing its enactive nature. It explores how this relationship informs pedagogy and has culminated in the creation of an innovative undergraduate aesthetics course centered around the practice of writing critiques. Moreover, it illustrates the dynamic process through which practice gives rise to theory, subsequently influencing pedagogical approaches, and, intriguingly, circling back to practice. To elucidate this flow of ideas across the realms of practice, theory, and pedagogy, we introduce several key concepts. These include the paradigm of creation research, also known as practice as research, which forms the foundation for much of our exploration. Additionally, we delve into the paradigm of enaction, inspired by the work of Francisco Varela in the cognitive sciences, to shed light on the cognitive processes underpinning our study. This article is the culmination of nearly a decade of interdisciplinary research that traverses the domains of creation research, enaction, phenomenology, criticism, aesthetics, and pedagogy. Throughout this journey, we have sought to unravel the intricate connections between criticism and aesthetics, ultimately paving the way for an innovative approach to teaching aesthetics at the undergraduate level.

This paper examines craft's foundational relations to materials, techniques, and collaborative modes of teaching and learning, and these can be called upon to strengthen and extend computational craft as practiced in fields like CSCW and HCI. Drawing from literature in HCI, craft studies and Science and Technology Studies (STS), we explore craft's modern formation at the dawn of the Industrial Revolution across three formative sites: Scandinavian Slöyd, British Arts and Crafts, and Japanese Mingei. From this review we identify three key (and still evolving) features: craft's accountabilities to natural materials and local ecologies; craft's holistic ways of making with 'head, heart, and hand'; and craft's distinctly collaborative and embodied styles of teaching and learning. We then show how these lessons can be applied to contemporary practices and pedagogies of computational making. We argue that doing so can help to rebalance computation's ecological ties and relations, recenter its practice on a sensorially rich and 'whole-self' concept of making, and support more collaborative modes of teaching and learning that are inclusive, relational, and heterogeneous.

This article explores a phenomenology of joyful experimentation in art education through a series of pedagogical flashpoints. Flashpoints are educational moments when implicit knowledge carried in the body suddenly appears and makes itself part of conscious experience, often in shocking, disturbing, traumatic ways. In this article, we offer another possibility for exploring the educational value of flashpoints with a shift toward a postcritical orientation that considers the role of art education in facilitating these pedagogical moments. By using a postcritical approach that emphasizes joyful moments of collective liberatory efforts, our intention is to acknowledge the force of structural inequalities while also highlighting how art education can create solidarity with joyful acts of collective empowerment and experimentation in these radically dystopian times.

In 2021 the Crafts Council launched its national education programme, Craft School, alongside the pedagogical framework Make First. Both Craft School and Make First were a culmination of decades of learning, experience, and research from staff at the Crafts Council and are underpinned by anti‐racist and anti‐ableist learning methodologies. Through this we hoped to work towards methodologies for equal and equitable access to craft education, by considering flexible approaches to delivering and participating in craft activities across different key stages. This paper outlines the Make First approach and some indications of its impact on teachers and learners, as well as exploring some of the challenges and areas for further development as we continue to build anti‐racist and anti‐ableist approaches to craft education.