The quality of teaching has a clear impact on student success, but how can good teaching be defined? The European QualiTePE research project, funded by the Erasmus+ programme and involving ten European countries, seeks to adress this question specifically for Physical Education (PE). The QualiTePE instrument was designed for use in teacher training and further training to enable criteria-based observation and assessment of the quality of Physical Education lessons. The instrument is designed for diverse PE teaching and learning scenarios, alongside teacher resources, facilitating the practical assessment of teaching quality in PE. The QualiTePE instrument quantifies teaching quality by assessing specific, observable teaching characteristics via questionnaire items. Each assessment is conducted by three different population groups: 1) the students 2) the PE teacher 3) an observer. The comparative analysis of the data collected from these three perspectives enables systematic and criteria‐based feedback for (prospective) teachers, identifies areas of improvement, and informs content development for PE across Europe. The QualiTePE digital web-based evaluation tool for assessing the “Quality of Teaching in Physical Education” is now available in English, German, French, Italian, Spanish, Dutch, Swedish, Slovenian, Czech and Greek.
Effective teaching for democracy requires an understanding of the teaching methods and educational characteristics that are effective in interventions. In order to address this requirement, we conducted a systematic literature review. We used an extensive search syntax and snowballing method that allowed us to find n = 2093 unique publications. After a screening process, we have included 54 interventions in 51 different quantitative effect studies written between 2010 and 2020. We categorized these interventions into five types of teaching methods: instruction, small-group work, assignments, projects, and democratic decision-making. We analyzed what the educational characteristics (i.e., subject matter, classroom interaction, classroom management) of these interventions were and for which democratic competences (i.e., knowledge, attitude, skill, behavior) they were effective. Our results show that teaching methods have differential effects on democratic competences. We also discuss the robustness of these results. Our study shows that there is still much to be gained in terms of research designs, the conceptualization of democratic competences, and the description of teaching methods.
MULTIFILE
The European creative visual industry is undergoing rapid technological development, demanding solid initiatives to maintain a competitive position in the marketplace. AVENUE, a pan-European network of Centres of Vocational Excellence, addresses this need through a collaboration of five independent significant ecosystems, each with a smart specialisation. AVENUE will conduct qualified industry-relevant research to assess, analyse, and conclude on the immediate need for professional training and educational development. The primary objective of AVENUE is to present opportunities for immediate professional and vocational training, while innovating teaching and learning methods in formal education, to empower students and professionals in content creation, entrepreneurship, and innovation, while supporting sustainability and healthy working environments. AVENUE will result in a systematised upgrade of workforce to address the demand for new skills arising from rapid technological development. Additionally, it will transform the formal education within the five participating VETs, making them able to transition from traditional artistic education to delivering skills, mindsets and technological competencies demanded by a commercial market. AVENUE facilitates mobility, networking and introduces a wide range of training formats that enable effective training within and across the five ecosystems. A significant portion of the online training is Open Access, allowing professionals from across Europe to upgrade their skills in various processes and disciplines. The result of AVENUE will be a deep-rooted partnership between five strong ecosystems, collaborating to elevate the European industry. More than 2000 professionals, employees, students, and young talents will benefit from relevant and immediate upgrading of competencies and skills, ensuring that the five European ecosystems remain at the forefront of innovation and competitiveness in the creative visual industry.
On a societal scale, the ‘problem with work’ is that everyone is exhausted, job security has been replaced by ‘flex work’ and much important work had been invisibilised. While billions of people are displaced and illegalized from work, others have physical/ mental conditions caused by work. The problem with work merits scrutiny not only from medical, corporate or legal perspectives. It needs tackling without an agenda of productivity, with an open regard and embodied, intuitive research. Artistic research has this scope. It taps into knowledges that are underused/repressed, by involving the body, harnessing intuition, experience and situatedness, and activating a plurality of voices. The aim of this research is to gain a deeper understanding of what is (not) work, who we are when we perform work, and when we don’t or are not able to work. Why are certain activities or roles called work and what happens when the term is applied to activities that are not normally deemed work, but which include comparable elements? Three research questions are addressed: 1. What can be learned about work by regarding every job, or all the work, as a performance? 2. What can be learned about performance (art) by looking at it through the lens of work? 3. What are ethical practices in collaborative and participative work processes? The research is carried out through an artistic approach that contains a particular way of making, teaching and researching which is collaborative, performative and transdisciplinary. It proposes the body as a thinking apparatus, experience as a way of gathering information and doing, writing, exchanging and performing as both method and dissemination. This research aims to contribute to a better understanding of what work is in our lives. The research has social, artistic and educational targets and target groups, which are also intertwined.
Tango is among the most widespread world music genres nowadays. However, only partial information about the elements and techniques of composing, arranging and performing tango has been documented and made available so far. This research project aims at investigating tango’s main aspects in the oeuvre of relevant tango musicians, promoting its creative practice and expanding its artistic community. By making the implicit knowledge in scores and recordings explicit and ready for creative use by the greater artistic community, tango can be preserved, on one side; and musicians can experiment and reach new artistic horizons, securing its continuation and development as vivid, contemporary music, on the other. The project has two research questions: 1. What are the main features and techniques of tango music composition, arrangement and performance? 2. How can musicians nowadays integrate these features and techniques into their practice to deepen their understanding and enhance their artistic creations and performances? This research uses a mixed method design, including the analysis of scores and recordings, literature review, interviews, observational studies and experimentation. It expands the artistic community on the topic and bridges two top-notch institutions devoted to tango learning: Codarts and UNSAM (Argentina). The research also endeavours improvements in the Codarts curriculum as it complements and expands its educational programme by providing students with research tools to enhance their creative practice. Theoretical and artistic outcomes will be documented and disseminated in concerts, concert-lectures, papers, articles and a tailor-made website containing compositions, arrangements, videos, text, musical examples and annotated scores, so as to record: a) the musical materials and techniques found in the analysed scores and recordings, together with their applications in practice and performance; b) the artistic processes, reflections and production of the participants; c) information on how to create, arrange and perform tangos.
