Interactive Poetry is a lively genre within E-Lit and interactive digital narrative that was made more accessible by the diffusion of tablets with “multitouch” screens allowing relatively complex gestural UIs on consumer-level hardware. This paper leverages pragmatist aesthetics to critically interrogate three exemplar pieces (Strange Rain, What They Speak When They Speak to Me? and Vniverse) that produce poetic effects by inviting gestural interactions. In conclusion, two critical concepts (“isomorphism” and “heteromorphism”) are demonstrated for future design and research.
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This is a protocol for a systematic review that aims to identify and present effective elements in poetry education. These effective elements are categorised based on Biesta’s (2012) educational domains: qualification, socialisation, and subjectification. The study examines reading, writing, discussing, and reciting poetry, as well as listening to poetry, in primary and secondary education. By doing so, this study provides insights into effective poetry education, which is relevant for teachers, curriculum developers, researchers, teacher educators, and pupils. The aim of this systematic review is to map the effective elements of poetry in primary and secondary education. The research question for this review is as follows: What are the effective elements of poetry for pupils in primary and secondary education? Bibliography Biesta, G. (2012). Goed onderwijs en de cultuur van het meten (1e druk). Boom.
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The main result of this effectiveness study is that a reading program with a focus on students’ poetry reading processes, based on observational learning via eye movement modeling examples, can improve students’ reading comprehension for different text types. In a pretest-posttest design with an experimental group (ten classes) and a control group (five classes), students’ self-efficacy regarding their own reading process and their reading comprehension were measured. Over a six-week period, teachers of Dutch and their students worked with the six experimental lessons, instead of the regular reading program: students observed and evaluated contrasting peer reading processes, reflected on differences with their own reading process, and then they practiced aspects of a deep reading process. The program resulted in significant progress in the reading comprehension of “expository texts” (ES = .66), “short stories” (ES = .66), and especially “poetry” (ES = .81). Furthermore, the self-efficacy test results show that students in the experimental condition experienced significantly more learning effect after the intervention period than those in the control group. Moreover, based on the learning reports, evaluation tasks and interviews, it appears that the participants in the innovative program have become aware of their reading and how they improved their performance.
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Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed.
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A poem about the role screenshots can play in our lives, our minds, our poetry. When does the personal become universal, and when does the digital become lyrical?
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In ancient times, music education was an essential part of mathematics education: in the Quadrivium mathematics, geometry, music and astronomy formed a four-unit whole. In China, among others, Confucius emphasized the importance of music education and the connection between poetry, law and music.
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‘Wat kunnen burgerschap en kunsteducatie voor elkaar betekenen?’ ‘Welke voorbeelden kennen we?’ ‘Welke kansen kunnen we grijpen?’ ‘Welke wrijvingen zien we?’ ‘Waar droom je van?’Deze vragen stonden centraal op de Hanze Kunsteducatie werkveldbijeenkomst over kunsteducatie & burgerschap van 12 april 2023. Het programma bestond uit drie beknopte inleidingen op het thema, een maaltijd, twee rondes van tafelgesprekken, een terugkoppeling, muzikale improvisaties, spoken poetry en een afsluitende borrel. Het gezelschap bestond deze avond uit (kunst)vakdocenten, lerarenopleiders, studenten, onderzoekers, educatief medewerkers, museumeducatoren en andere belangstellenden.
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The Living Lab Upper Citarum mini symposium, held at ITB, Bandung, dealt with the subject of creative strategy activities based on citizen participation in the form of mapping, painting and poetry. Van Hall Larenstein University of Applied Science lecturer Loes Witteveen attended the symposium.
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The research group ‘Community resilience, participation and social learning’ of theprofessorship Sustainable River Management at Van Hall Larenstein University of Applied Sciences, in the Netherlands explores the contribution of community art and visual arts in relation to complex public participation processes in a context of sustainability.
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