This collection considers how Canadian art educators are engaging with a new range of approaches to museum education, and why educators are responding to 21st century challenges in ways that are unique to Canada.



Organized into three sections, this collection reconceptualizes museums to consider accessibility, differences in lived experiences, and how practices create impactful change.



With the overarching concept of relationality between art museums and interdisciplinary perspectives, authors consider methodological, philosophical, experiential and aesthetic forms of inquiry in regional museum contexts from coast-to-coast-to-coast that bring forward innovative theoretical standpoints with practice-based projects in museums, articulating how museums are shifting, and why museums are evolving as sites that mediate different and multiple knowledges for the future. Informed by social justice perspectives, and as catalysts for public scholarship, each chapter is passionate in addressing the mobilization of equity, diversity and inclusivity (EDI) in relation to practices in the field.



By weaving the learning potential of interacting with artworks more fully within situated and localized social and cultural communities, the authors present a distinct socio-political discourse at the heart of teaching and learning. Rupturing preconceived ideas and sedimentary models, they suggest a discourse of living futures is already upon us in museums and in art education.

Reframing Berlin is about how architecture and the built environment can reveal the memory of a city, an urban memory, through its transformation and consistency over time by means of ‘urban strategies’, which have developed throughout history as cities have adjusted to numerous political, religious, economic and societal changes. These strategies are organised on a ‘memory spectrum’, which range from demolition to memorialisation.

It reveals the complicated relationship between urban strategies and their influence on memory-making in the context of Berlin since 1895, with the help of film locations. It utilises cinematic representations of locations as an audio-visual archive to provide a deeper analysis of the issues brought up by strategies and case studies in relation to memory-making.

Foreword by Kathleen James-Chakraborty

A new volume in the Mediated Cities series from Intellect

Proposes a methodology for incorporating concepts drawn from ancestor trance in Afrolatinx ritual for actors trained in Western methods. Danowski created four new works of theatrical performance, writing the play texts, and incorporating acting exercises from Afrolatinx rituals adapted for non–practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character, drawing on the ritual knowledge of trance possession in Lukumí and Palo Monte to examine how ontologies might speak to each other.

Constructing a methodology called kanga (from the Bantu for tying and untying), using three methods based on aspects of Afrolatinx ritual, and modified for performance contexts: spell, charm, and trance. This methodology enacts and complicates distinctions between performance and ritual, serving as a contribution to respectful and responsible intercultural performance practices.

The methodology is bricoleur, drawing from ethnography, psychoanalytic theory, and phenomenology. Kanga in practice leads to a state of consciousness that Danowski calls hauntological. This borrows from Derrida but is redefined to refer to the study of haunted states of consciousness, where reality is co–constituted by the living and the dead, where ancestral spirits are invoked to do the work once reserved for characters.

Comics have always embraced a diversity of formats, existing in complex relationships to other media, and been dynamic in their response to new technologies and means of distribution. This collection explores interactions between comics, other media and technologies, employing a wide range of theoretical and critical perspectives.

By focusing on key critical concepts within multimodality (transmediality, adaptation, intertextuality) and addressing multiple platforms and media (digital, analogue, music, prose, linguistics, graphics), it expands and develops existing comics theory and also addresses multiple other media and disciplines.

Over the last decade Studies in Comics has been at the forefront of international research in comics. This volume showcases some of the best research to appear in the journal. In so doing it demonstrates the evolution of Comics Studies over the last decade and shows how this research field has engaged with various media and technologies in a continuously evolving artistic and production environment. The theme of multimodality is particularly apt since media and technologies have changed significantly during this period. The collection will thus give a view of the ways in which comics scholars have engaged with multimodality during a time when “modes” were continually changing.

This book is for artists, teachers, and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book, in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration.



The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers, it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar, which is appropriate for a scholarly journal, but can be difficult for other audiences. This book will bridge this divide through its use of design, narrative, and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching.



This field guide to artistic approaches, including methods for teaching art, frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture, including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.

This substantially revised and expanded edition of the The Drama Therapy Decision Tree provides an integrated model for therapeutic decision-making by uniting drama therapy interventions with diagnostic information, individual and group processes, psychological distance, the drama therapy pie, and global outcomes.

This book is a practical guide in four sections, not a checklist. Rather than using a standardized protocol that makes the decisions for the therapist, drama therapy is based on dynamic, embodied, creative action with participants in the here and now. Conscious planning on the part of the drama therapist before the session supports spontaneity and creativity, preparing them to make good therapeutic decisions in the moment during the session.

The opening section guides readers through the foundational principles leading readers into Section Two, The Decision Tree, which is a series of questions for early career drama therapists to ask themselves as they prepare treatment plans for clients. Diversity, Equity, and Ethics are covered in Section Three from the point of view of creative arts therapy practitioners. Section Four looks at Integrating the Five Phases of Treatment with the Drama Therapy Pie, following different populations (diagnosis) of clients through the five phases of group therapy in order to illustrate how the Decision Tree supports intervention choice in the different phases of treatment.

The authors strive to provide a common language for communicating what drama therapists do and how they do it in order to demystify drama therapy for other mental health and medical professionals. Using the decision tree as a guide, early career drama therapists can move forward confidently and ground their work with participants in an integrated system. 



An online searchable database of drama therapy interventions provides descriptions, therapeutic outcomes addressed, and other useful information provides a wealth of additional supporting material. There is also a separate online resource of deroling activities.



The online resources, here, can also be an asset for non-drama therapists who are wanting to incorporate a more active and embodied component safely into their work, particularly in terms of warm-ups, closure, and deroling.

This edited collection highlights ways that arts-educators have taken up important questions around learning with the land through walking practices across spatial, temporal and cultural differences. These walking practices serve as ecopedagogical moments that attune us to human-land and more-than-human relationships, while also moving past Western-centric understandings of land and place. Yet it is also more than this as the book situates this work in a/r/tographic practices taking up walking as one method for engagement.

Authors explore walking and a/r/tography in their local contexts. As a result, the book finds that kinship and relationality are significant themes that permeate across a/r/tographic practices focused on ecopedagogy and learning with the land.

Unique to this collection is the weaving of groundings that both guide each chapter and emphasize the philosophical commitment of the book. Each grounding is written by scholars or artists with Indigenous backgrounds to Turtle Island (North America) or are scholars who are Indigenous to other countries and places who are now working in Canadian university settings. Many are Elders, cultural stewards, knowledge keepers, and stewards of the land who find themselves immersed in practices that are artful, ecological, and in many instances, involve the practice of walking. Each grounding offers an important lesson or prompt for readers to consider as they engage with the chapters, as well as offering a conceptual re-centring and grounding to the land and the traditional knowledges from the territories on which this collection is being produced and edited.



Anishnaabe kwe scholar and artist Anna-Leah King reflects on the teachings of Alfred Manitopeyes, a Saulteaux Elder from Muskcowekwun, Pimosatamowin, who shares that good walking and good talking is more than just a metaphor.



Ojibwa scholar and artist Natalie Owl troubles the dictionary definition of anecdotal in relation to walking in the world as an Indigenous woman.



Mukwa Musayett, Shelly Johnson, reflects on her relationship to the natural elements, revealing how the winds have helped her learn emotional intimacy- from feelings of grief, frustration, anger, respect, power, love and gratitude.



Metis scholar and artist Shannon Leddy invites the reader to a time-travelling walk, tracing the colonial legacies of the land where she now lives in Vancouver, Musqueam Territory, going back to ancient Greece and engaging with Greek mythology, and bringing us to creation itself, as we gestate in our mother’s womb.



Cathy Rocke invites readers to her favourite walking path where she focuses her attention to the reciprocal relationships found in nature and considers how they can help us better understand healthy human relationships.

Gloria Ramirez reflects on her homeland in the Andean Mountains and how her body is intimately tied to the places she has walked.



In a poetic grounding story, Shauneen Pete reflects on the traditional teachings shared by her grandfather from Little Pine First Nation about living and learning with the land.



Sheila Blackstock, member of the Gitxsan First Nation, invites readers to join her on a walk along the lakeshore in early springtime, as she reflects on her walking practices that have taught her how to learn from nature. She describes her movements and senses as “a heart catalogue of understanding how to be in nature”.



In this grounding lesson from Peter Cole and Pat O’Riley, the characters of Coyote and Raven invite readers to the Kichwa-Lamista of the High Amazon and the Quechua Andeans in the Sacred Valley of the Incas in Peru. Through story they talk about returning to the land in an era of climate change and learning about traditional lifeways of Indigenous relations that emphasize preserving, maintain, repairing, caring and sharing.



In her grounding poem, Yasmin Dean attunes to and shows gratitude to the Earth, as she thoughtfully considers how to open and walk through the gate that leads to the sacred.

Fashion Projects: 15 Years of Fashion in Dialogue anthologizes the New York–based journal Fashion Projects. The book is an index of a particular time within the fashion studies landscape and the attendant fields of fashion writing, fashion curation, and critical fashion practice during which the field witnessed a meteoric rise.

The long-running non-profit journal Fashion Projects was described by The Paris Review as “a journal devoted to critical discourse in fashion,” Fashion Projects was founded in New York in 2005 as a zine. It gradually morphed into a larger journal straddling the academic and general interest worlds, with international distribution and an ardent readership. It served as a platform to highlight the importance of fashion within current critical discourses through longform interviews with a range of curators, critics, artists and designers. This book collects together the best articles from the journal, most issues of which are now unavailable.

From exploring the rise of digital fashion media with Penny Martin (the founding editor-in-chief of SHOWstudio) to the continued importance of connoisseurship with Harold Koda (former Curator in Chief of the Met’s Costume Institute), the anthology records the increasing centrality of fashion to contemporary critical discourse.

This book guides artists through the discovery and development of the art that they alone were born to create. Through real-life examples and exercises, we tear down the cultural, educational, and psychological obstacles to finding authentic visual voice, stripping away years of assumptions, external and self-imposed limiting parameters.



We learn how to listen to the Universe and get out of the way when work wants to come through us. We construct a core foundation, unique to each artist, one that will grow along with them in their artistic

practice. Artists will discover their own singular visual vocabulary by mining their personal history, psyche, and world view to reveal new creative directions, and learn how to intensify and develop their core ideas to make them more resonant and complex. We explore methodologies to tap into the subconscious, cultivate breakthroughs, create environments to maximize the gestation of ideas, instill bravery, and do meaningful research to produce deeply layered works of art.



While designed for college students, professional artists will also find it allows them to get to that illusive

“next level” in their work; the one that calls to them, haunts them in their dreams, yet remains unarticulated in their practice.



In addition to helping undergraduate and graduate students who are looking to identify, articulate, and hone their vocabulary, it can serve as a tool for more established artists to step up or refresh their practice. It is the kind of book that artists will keep on the studio shelf, to pick up time and time again, as their responses to the exercises will change throughout the course of their career.

There are extensive lists, exercises, and questionnaires, anecdotes of art-historically significant artists and detailed descriptions of the methodologies they employ to tap into the subconscious, various types of research on creative breakthroughs (and how to apply it to your own process), helpful suggestions to create an environment / lifestyle to maximize the gestation of ideas, and how to do meaningful research to produce deeply layered works of art. While the tone of the book is often earnest and spiritual (in an “art is religion” kind of way), Kretz is aiming for a straightforward, accessible, kind-but-no-nonsense tenor, with some humor, and nurturing “tough love” when needed, to say some of the things that artists need to hear, but few people have the guts to tell them.

This book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self, which, far from being a stable marker of urban, liberal, millennial Indian identity, has a schizophrenic quality, one that is replete with contradictions and oppositions, unable to sustain the weight of its own need for self-promotion, optimism, and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book, however, belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects.

The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star, the urban space, web series, YouTube videos, and social media content.