An historical commitment to child-centred pedagogy notwithstanding, classrooms for an increasing diversity of young people are constituted by their constrained affordances for learning; a single teacher, configurations of tables and chairs, and digital resources. The remit of teaching in such confines perpetuates passivity, a one size fits all…

This article discusses one specific form of makerspace for children -- hereafter, referred to as (un)makerspace -- whose activities consist mainly in dismantling discarded toys and electronics, characterised as a global makerspace. The article presents the activities of children participating in a number of makerspaces in Melbourne, Australia. The…

With an interdisciplinary focus on creativity, inclusion and wellbeing, this paper provides a conceptual argument for additional and reimagined arts education programs in schools that incorporate creative arts therapies. Based on a review of literature in this field, it documents the practices and value of creative art therapies, for students…

Play is a universal human experience. Often regarded as the unique purview of children, an emerging body of research points to the importance of playfulness in adulthood. This article reports on the research and observations of two teaching artists working in Connected, a Sydney Theatre Company adult-literacy-through-drama programme. This article…

Our paper focuses on delineating and scoping international Women's Sheds, a movement that has emerged within the past decade, mainly in Australia, Ireland and the UK. It addresses two main research questions. Firstly, what is the origin, distribution, nature and intent of Women's Sheds internationally to March 2021? Secondly, how might Women's…

This article explores the development and implementation of a new Doctor of Creative Arts program in a regional university. The experiences of key leadership staff and Doctor of Creative Arts candidates enrolled in the foundation year of the program are contextualised within the current landscape of practice-based arts research in the higher…

Work produced during a course of study in the creative arts may differ from assessment in other disciplines in the following ways: (1) it is non-text-based: work may consist of a performance, video recording, digital or interactive work, music composition, audio recording, or physical artefact; and (2) it is creative: works demonstrate individual…

As children with autism spectrum disorder become adults, social participation continues to be an area of need. Within creative arts, there is a growing body of literature about the use of theatre arts, improvisational theatre, and improvisational techniques as a way to address social participation for individuals with autism spectrum disorder. The…

Our aims were to examine the efficacy of a new observational instrument "System for Observing Outdoor Play" for detecting changes in outdoor play and chart the use of recycled and repurposed materials in the school playground during the course of an intervention to increase outdoor play. Children from one Sydney primary school were…

This longitudinal study examines the relationship between young people's creative and performing arts participation (e.g., in dance, drama, film, music, visual arts) and their arts self-concept. Drawing on the positive youth development (PYD) framework and the reciprocal effects model (REM) of self-concept, a cross-lagged panel design is…

Universities in Australia -- as in many other Anglophone countries -- have benefited from an influx of full fee paying international students. Cultural and Creative Industries (CCIs) as an increasingly desirable career for these students and associated with rising state investment has given Anglophone universities the privilege in this…

Traditionally, assessment for university students in the humanities has been in an essay format, but this has changed extensively in the last decade. Assessments now may entail auditory and visual presentations, films, mind-maps, and other modes of communication. These formats are outside the established conventions of humanities and may be…

For musicians, learning to improvise requires individual and collaborative skill and knowledge that in experts is acquired over years of immersion and enculturation. Learning formally, informally or a combination of both, improvisers 'learn to learn' by evolving meta-cognitive capabilities necessary to develop and refine improvisational expertise.…

The way an improviser practices is a vital and significant aspect to a musician's means and capacities of expression. Expert music performers utilize extensive self-regulatory processes involving planning, strategic development, and systemized approaches to learning and reflective practice. Scholars posit that these processes are constructivist…

Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students' learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social…