Artistic Activities Research Articles

Operational Competence of the Visual Arts Teacher in Art Practice: Interrogating the Underlying Factors

This study is on operational competence of Visual Arts teachers’ art practice, focusing on the factors influencing their competence and its relevance in contemporary contexts of arts education. Drawing upon literature from education, art pedagogy, and teacher training, this study identifies key factors that contribute to the operational competence of Visual Arts practice, including artistic skill, proficiency and reflective practice. Through an analysis of empirical studies and practical insights, the study highlights the visual arts teachers’ own art practice factors. It also underscores the significance of research informed policies and curriculum frameworks that support the holistic development of Visual Arts education and the cultivation of a vibrant artistic community within schools and society at large. It engages qualitative research design. A sample of twelve (12) Visual Arts students and one (1) Visual Arts teacher each from eleven (11) schools within the six Education Districts of Lagos State were purposively selected. Data was obtained using Portfolio Review Rubrics. Thematic Analysis was employed in analysing data gathered. Findings revealed that Visual Arts teachers’ competence in art practice differs in nuances of scope. It also revealed that teachers’ competence in art practice is a determinant of students’ learning outcome in art practice. Based on the findings, recommendations were made that workshops and conferences on art practice and pedagogy be organised for Visual Arts teachers to improve their operational competence in art practice. It further recommended that art teachers’ training curriculum be re-packaged to include more art practice activities than pedagogy so as to adequately build their art practice competence in scope and strength for prospective art teaching career.

Schaár Erzsébet ifjúkora és korai szobrászművészete (1908-1931)

The present paper is a subchapter of my doctoral dissertation titled The Oeuvre of Sculptor Erzsébet Schaár (1908– 1975). The paper discussing a period of her life’s path sofar only tangentially touched on by special literature divides into three parts: the first is concerned with the artist’s family background, childhood and adolescence, the second with the initial phase of the career, the academy years, and the third looks at works created in the 1920s and the early 1930s, as well as exhibitions of that period.Schaár was a veritable “child prodigy”. She began her studies as Zsigmond Kisfaludi Stróbl’s private pupil at the age of sixteen and a year later, in 1925 she was admitted to the Royal Academy of Art where her tutor was again Kisfaludi Stróbl. She debuted with her works publicly in 1926, first of all in exhibitions of the Szinyei Society and the KÚT (=new society of artists). Though several of her that-time works got lost or are latent, an approximately authentic overview of her art in that period can be had from exhibition catalogues, receptions, materials in archives and private collections – first of all the Vilt estate in the King St Stephen Museum in Székesfehérvár and the mostly unprocessed written and photography documents, correspondence in the Schaár estate, as well as from recollections by her contemporaries, first of all Tibor Vilt. A few nudes are known from this period, but her early artistic activity centred on portrait sculpture. This is also the clew along which the phases Schar’s artistic development, the modifications of her style, the influences exerted on her can be demonstrated from the earliest known portraits of her mother to the series of children’s portraits in the late 1920s, early 1930s. The studied period is characterized by a search of her own idiosyncratic style: in the 1920s she created both realistic portraits and works displaying features of art deco and cubism, she was interested in modelling with simple forms, experimented with facial casts – a procedure that returned in later phases of the oeuvre.In sum, the earliest period of Schaár’s sculptural activity displays such singularly powerful idea of plasticity and creative outlook that compare with the later phases of the oeuvre in talent and quality, but with the help of which posterity can discern the trends that were to unfold in full later. Studying this early period may contribute to a more profound understanding and comprehensive interpretation of the entire oeuvre.

Renegotiating the notion of artistic genius - within the frame of an institutional theatre

This exposition explores how the Betty Nansen Theatre in Copenhagen, with the artistic research project, BETTY DEVELOPS, works with spreading a collaborative practice to the infrastructure of an entire institutional theatre and how this renegotiates the notion of artistic genius and the star. The exposition offers a meta-reflection on the author’s artistic research activities at the theatre. These reflections shed light on what happens when collaborative methods of working and producing are implemented in an institutional theatre and discuss the extent to which artistic research can develop methods for collaborative co-creation as well as resistance to the neoliberal individualised performance culture. Could such methods prevent you from falling back on a modernist understanding of the artist as the original creator of an individual expression and instead support a collaborative art and knowledge practice? As opposed to defining artistic creation as something that springs from and comes from an individual (the artistic genius or star), the author argues that artistic creation is a relational act, and that art is something that comes to be between people. This exposition is a collage of empirical material, text, images, and video gathered and produced over the last five years while facilitating, documenting, researching, and sharing the development of fourteen BETTY DEVELOPS productions.

The Psychophysiological Relaxation Effects of Essential Oil Combined with Still-Life Painting Activities on Older Adults in Taiwan During the COVID-19 Pandemic.

Although the COVID-19 pandemic affected all types of people, older adults were disproportionately affected. Therefore, we developed an indoor program inspired by art and natural elements (plant essential oils [EOs]) intended to have a relaxing effect akin to a forest atmosphere to enhance psychophysiological health during this period. Thirty Taiwanese older adults (range, 59-79 years) participated in the study. We combined an art activity (still-life painting of vegetables) with the inhalation of Pseudotsuga menziesii and Lavandula angustifolia EOs during a 100-minute experiment. The study showed that physiological measures (heart rate, normalized low-frequency heart variability, the ratio of low- to high-frequency heart variability, high-beta waves, and gamma waves) decreased during the experiment; correspondingly, increased standard deviation of normal-to-normal intervals, normalized high-frequency heart variability, and high-alpha waves were observed, indicating relaxed physiological state. Subjective psychological assessments using the State-Trait Anxiety Inventory-State showed lower posttest scores, further supporting the relaxation effects. The psychophysiological data from this study provide important scientific evidence for the physical and mental health benefits of indoor nature-based activity programs for older adults, thereby improving their quality of life.

Collaborative and side-by-side artmaking: reducing social isolation in refugee youth group art therapy

ABSTRACT Background Research on social isolation in refugee youth is important because it affects their sense of belonging, mental health and wellbeing; integration and acculturation into a new country; education; and future employment opportunities. There is limited art therapy research in Australia in this area, leaving a compelling gap in understanding the effectiveness of collaborative and side-by-side artmaking in group art therapy to connect refugee youth with their peers. Aims This study aimed to explore whether collaborative and side-by-side artmaking in group art therapy would connect youth more effectively; alleviate their social isolation from trauma, displacement and re-settlement experiences; provide a safe environment and platform to express themselves; and improve their mental health and wellbeing. Methods The triangular mixed-methods approach used standardised scales and semi-structured interviews to gather information from youth, teachers and art therapists. Mixed-method data analysis was applied using the Reliable Change Index, line graphs, descriptive statistics, and thematic analysis. Results Refugee youths’ self-esteem and confidence seemed to increase through collaborative and side-by-side artmaking. Results highlighted the importance of social connection, self-esteem, confidence and a sense of safety for making positive connections during artmaking. Conclusions Findings indicate potential benefits of pportunities for refugee youth to connect with their peers in the school environment and of group art therapy. Implications for practice and future research Opportunities could be achieved through collaborative and side-by-side artmaking in group art therapy. A larger study, longer programme and mixed populations in the school setting are recommended for future research. Plain-language summary The research aimed to examine if there was an effect of a six-week art therapy programme on social isolation for five 14–15-year-old female refugee youth. This research is important because social isolation affects youth’s mental health and wellbeing. Through creating art individually and next to each other (side-by-side artmaking), and creating artworks together (collaborative artmaking), the programme aimed to reduce social isolation and increase connections between youth during the sessions and in the school environment. The research was conducted in an early intervention creative therapies service onsite at a Queensland English-language transition secondary school. The service is provided by accredited art therapists and uses creative methods to support culturally diverse refugee youth in resettling, learning and recovering from trauma and stress. During the research, youth participants engaged in art activities, such as drawing and painting, while listening to music. Interventions were designed to establish group bonds, build self-esteem and resilience, and empower youth in a safe and supportive environment. Art therapists and teachers observed youth during the research period, completed standardised scales before and after the programme and participated in semi-structured interviews. The youth participants also completed standardised scales and were interviewed before and after the programme. The results showed that after the six-week programme, youths’ wellbeing and connections to each other increased. Three central themes were identified: (1) social connection is important within the school environment; (2) self-esteem and confidence are related to connecting to others and social isolation; and (3) there is a sense of safety in artmaking individually and collaboratively with peers. The study found that the art therapy programme positively affected youth mental health and wellbeing. This suggests the programme effectively reduced participants’ social isolation, potentially offering positive opportunities to connect other youth at risk of social isolation.

The Impact of Arts on Mental Health and Well-Being

This paper examines the complex relationship between the arts and mental health, examining its historical roots, theoretical frameworks, and empirical evidence. Artistic expression has long been associated with mental health, providing opportunities for self-expression, emotional release, and psychological recovery. From early civilisations to modern therapeutic techniques, art has been recognised for its ability to improve mental health in a variety of cultures. Theoretical perspectives, such as expressive arts therapy and neuroesthetics, shed light on how creativity influences emotional and cognitive processes. According to empirical studies, participating in artistic activities helps relieve anxiety, sadness, and stress while increasing social support and empowerment. This study addresses the value of interdisciplinary methods, combining lived experiences with research to investigate how art may be used as a powerful tool in mental health interventions such as art therapy and creative practices in community settings. Keywords: Art therapy, Mental health, Emotional well-being, Expressive arts, Creative interventions.

The Impact of Creative Arts on Student Engagement and Learning

The integration of creative arts in education has shown potential in enhancing student engagement and learning. This study investigates how creative disciplines such as visual arts, music, and drama contribute to deeper cognitive, emotional, and social engagement in primary and secondary education. Drawing on theories of creativity and constructivism, the research utilizes a mixed-methods approach, involving case studies and surveys, to explore the effects of creative arts on student motivation, problem-solving, and academic performance. Findings indicate that students participating in creative arts activities exhibit higher engagement, adaptability, and positive learning outcomes. The study highlights the transformative role of arts-based learning and calls for greater incorporation of creative arts in the curriculum to foster holistic educational development. Keywords: Creative Arts, Student Engagement, Learning, Visual Arts, Music, Drama, Cognitive Development.

The Stepwise Artification Process in Luxury Fashion: Strategic Integration With the Arts and Collaboration With Non‐Profit Institutions

ABSTRACTThis article investigates the diverse artification strategies used by luxury fashion brands to strengthen their connection with the art world and emphasises how these strategies infuse objects, practices, and brands with artistic value. Using a theoretical framework, the research classifies the Altagamma and Comité Colbert brands into distinct clusters representing various stages of the artification process, from early exploration to full integration of artistic practices. The study analyses the ways in which these stages reflect the brands’ historical evolution and strategic investments in artification, particularly in response to market threats. Between 2019 and 2024, 81.25% of the 39 brands examined in this study engaged in at least one artistic activity, such as artist collaborations, art installations or incorporating artistic elements into collections. This study offers new insights by expanding the understanding of artification and classifying underexplored connections between luxury brands, artists and non‐profit cultural institutions. It reveals how brands, despite differing approaches, recognise artification as a key strategy in enhancing identity and positioning in the luxury market.

Promoting Health and Wellbeing Through Non-Clinical Arts Programming: Multi-Stakeholder Perspectives From the Veterans Health Administration.

While the value of art therapy is well-established and arts are increasingly leveraged to promote health and wellbeing more broadly, little is known about the impacts of non-clinical arts programs. In this preliminary investigation, we sought to fill this gap by exploring diverse stakeholders' perspectives on the impacts of non-clinical arts programming on Veterans receiving care at the Veterans Health Administration (VA). Semi-structured qualitative interviews with Veterans, VA staff, and community partners. Interviewees were recruited from 7 VA medical centers that have recently implemented non-clinical arts programming to promote Veterans' health and wellbeing, some of them in partnership with community organizations. 33 individuals were interviewed, including 9 Veterans, 14 VA staff, and 10 community partners involved in non-clinical arts program implementation. Interview transcripts were analyzed using iterative rounds of qualitative content analysis. The following impacts on Veterans were described: (1) mental health improvements, (2) renewed sense of purpose; (3) increased social connectedness, (4) improved self-esteem, and (5) self-driven engagement in art activities. Non-clinical arts programming was perceived by diverse stakeholders to offer important benefits for Veterans' health and well-being. Offering non-clinical arts programming inside and outside healthcare facilities' walls is a promising direction for the field of public health undergoing a shift towards holistic approaches to improving individual and population health outcomes.

Pendampingan dan Pemulihan Pasca Erupsi Gunung Ruang dengan Kegiatan Kreatif Ikebana pada Masyarakat Tagulandang

The purpose of this service activity is to provide assistance to the community, especially the Tagulandang village community who experienced the mountain eruption disaster with the inte-gration of creative activities in the Japanese art of Ikebana. Ikébana (生花) is the art of flower arrangement that utilizes various types of flowers, grasses and plants with the aim of enjoying their beauty. The results of this service activity have a good impact on the community, especially for (1) restoring their mental health, the art of Ikebana is not just arranging flowers but this art is able to relax and refresh the brain and balance the needs of the body. (2) Fostering resilience and spirit so that they feel that their burden is lessened and they can continue their lives with re-newed vigor.

“It feels like a parallel universe.” Worldbuilding through climate action

ABSTRACT This study set out to explore the everyday experiences of people engaged in climate action. We focus not on one specific self-defined and bounded social movement, but on individuals engaging in different forms of climate action from protest and direct action to art and social media activism. Data were drawn from focus groups and interviews with 26 UK-based climate actors to explore motivations, experiences, emotions, conflicts and successes. Participants included scientists, artists, civil servants, community organisers, media, school students and teachers. Different ways of doing and experiencing climate action were found. Drawing on literature from science fiction and game studies, we argue that these different approaches to climate action can be conceptualised as worldbuilding. Climate action as worldbuilding consists of three key features: intentionality, separation and creating new norms. We conclude that worldbuilding is an inclusive conceptualisation as it makes space for different approaches to climate action, and allows for tensions within and between climate action movements to be viewed as a resource for learning, imagining and bringing into being preferred futures together. The study demonstrates how social movement research in the context of game design can contribute to the theorisation of activism through the production of a cultural artefact.

Componential of Creativity Santri Daar El Qolam Islamic Boarding School in the Field of Arts

A person's creativity depends on three main components: expertise, creative thinking ability, and intrinsic motivation. Expertise and creative thinking ability are technical skills and aptitudes that can be honed, while intrinsic motivation (motivation from within) is often the most important for generating innovative ideas. Santri of Daar el Qolam Islamic Boarding School dares to respond to culture and art. Through art activities provided by Kiyai and Asatidz, all students can participate in good and beautiful art activities. Activities that have been carried out include Art WearCreation Training, Making Women's Dresses from recycled materials, Sports and Arts Week, Santri Art Night, and Commemoration of National Santri Day by making a work of music and video clips with various performing arts.

Interactional space for agency: Discussing photography with preschoolers

According to the latest research in both arts education and childhood studies, young children's agency is relational, entangled and negotiated. However, in early childhood visual arts education, modernist practices emphasising the independent and self-expressive child–agent are still recognisable. In this article, early childhood artistic activities are seen as a shared venue for interaction, social exchange and joint meaning-making, thereby providing a specific forum for displaying agency. Informed by conversation analysis, we explore discussions between 14 preschoolers and a researcher on contemporary art and children's self-authored photographs in a workshop in an early childhood education and care centre. By examining our discussions as turn-by-turn procedures, we identify children's displays of agency. The findings illustrate children's agency as a multifaceted and complex interactional phenomenon based on verbal and non-verbal communication and demonstrating both imaginative, progressively oriented talk and modes of resistance. While a shared playful stance appeared as a suitable means to approach art/creative photographs, it simultaneously became an essential interactional resource for inviting and promoting children's agency. Collaborative play with photographs provided an interactional space in which the fixed child/children–adult binary could be questioned and different types of agency were available for both children and the adult.

Adapting, expanding and embedding community and culture into health ecosystems

Abstract Background Community anchor organisations (CAOs) work with communities who experience health inequalities and disadvantage, providing a range of activities and services to meet individuals’ needs in an integrated way. This study explored how CAOs use art, cultural and nature-based activities as part of their work to respond to the needs of people facing inequalities and considered how activities can be scaled in this health setting. Methods This study used community-based participatory research within a case study approach to work with four purposively sampled CAOs. Participants were community members, volunteers, staff, trustees, partner organisations and commissioners. Data collection methods included: document analysis, interviews (n = 45), workshops (n = 5) and focus groups (n = 11). This study was also supported by data collected by trained community researchers (n = 18). Framework analysis was conducted for within- and cross-case analysis. Results In the context of CAOs, the delivery of art, cultural and nature-based activities were found to be an important mechanism for developing trusted relationships with marginalised groups, who may lack trust in statutory services and health focused activities. Other facilitators to community engagement were the CAOs’ longevity, localness and co-location of services within a trusted and familiar place that connect people to personalised support. Barriers to scaling up included funding models as well as insufficient dialogue and understanding between CAOs and the local public health ecosystem. Conclusions CAOs have long term trusted relationships with disadvantaged communities and are influential in connecting individuals with projects and services. Findings suggest that the effectiveness of action to address inequality through art, cultural and nature-based activities could be improved if the role of CAOs was recognised more coherently in place-based public health plans. Key messages • Creative activities enable meaningful engagement with disadvantaged groups within place-based settings. • CAOs must be recognised more coherently in place-based strategies to reduce health inequalities.

Arts and Mental health

Abstract Art includes performing arts, visual arts, literature, culture, and online/digital products. Its interventions are multimodal, combining a variety of activities, such as evoking emotions, emotional and cognitive stimulation, and imagination. Depending on the type of art, they may also involve social interaction, physical activity and communication. There is a large body of research suggesting that art engagement can enhance different dimensions of mental well-being (eudaimonic well-being, life satisfaction, evaluative well - and positive emotions). Some or all of these benefits have been found in individuals who participate in art activities. Based on these findings, art on prescription has been used in some European countries, including the United Kingdom, and Scandinavian countries. Art on prescription is mostly delivered in partnership with art organizations. The aim of this talk is give an overview on art on prescription in different countries in Europe and enhance understanding of the mechanism for whom art on prescription is a promising intervention in the field of mental health. Building on the mapping and review of reviews challenges of art interventions will be discussed such as study design or evaluating effectiveness and identifying population groups for whom art interventions work best.

THE SYN(ES)THESIS PROJECT – A MULTI-PURPOSE EXPERIMENT IN INTERDISCIPLINARY ARTS

In the spring of 2021, the “Pancho Vladigerov” House Museum in Sofia brought to life a new creative initiative that aimed to simultaneously enlarge the scope of the museum’s activities, open up new artistic paths, and allow for an innovative approach to the cultivation of a wider audience base given the ongoing pandemic at the time. In April of the same year, the SYN(es)THESIS Project was officially introduced to the public through its inaugural concert exhibition; since then, it has involved the partnership and support of no less than twelve institutions in Bulgaria and has culminated in three complete annual editions with multiple events and components. Three years later, with a remarkable array of creative results in several artistic fields, the project presents the intriguing tale of an original interdisciplinary experiment. This paper invites a closer look into its structure and organization, its participants' compelling and inspired productions, and its potential for further expansion into new creative territories following its main established principles. In its essence, the SYN(es)THESIS Project aims to explore the multitude of possibilities for synthesis, interactions, and interconnections between the various arts through inspired individual and group-coordinated creative work. As such, it is meant to build bridges, often in unexpected ways, between artists, artistic disciplines, and institutions at multiple levels, even between the educational and professional spheres and their respective audiences. To foster the above goals, the project employs an array of creative approaches that, as its very name suggests, allow for manifold combinations and artistic interpretations. In practice, the root words “SYN” (Greek, “together”), “THESIS” (“statement”), “aesthesh” (“feeling”), and “SYNTHESIS” all have a certain relationship to its main guiding principles; and, while the number of these morphemes is fixed, the project does provide an open framework in which the potential directions for artistic work can, at least in theory, be limited only by one’s imagination and the specific relationships between the various creative mediums. In this regard, the project encompasses a rather open general format; concurrently, with every new session, all possibilities are narrowed down to specific combinations of artistic activities. This consequently allows for a clear, yet ever-evolving structure to be re-established as the basis for creative work.

ИКОНОМИЧЕСКИЯТ И ПОЛИТИЧЕСКИЯТ КОНТЕКСТ И ВЛИЯНИЕТО ИМ ВЪРХУ РАЗВИТИЕТО НА ПЪРФОРМАНС АРТА ПРЕЗ ПЪРВАТА ПОЛОВИНА НА ХХ ВЕК

The study investigate the influence that the economic, political and cultural context had on artists expressing their ideas through the means of performance in the first half of the 20th century. Dynamic changes in every field of social life, and especially in the scientific and technical, directly or indirectly, stimulate artists to publish manifestos, search for a synthesis between the arts, protest artistic actions, or those aimed at self-examination. These attitudes impact the discovery and practice of new forms of expression in modern art.

The association between empathy and artistic practice: a cross-sectional study with medical students

BackgroundEmpathy is essential to medical practice, and efforts to cultivate it often include incorporating liberal arts into medical curricula to promote it. However, the association between empathy and engagement in artistic practice beyond the medical curricula remains unclear. This study aims to assess the association between medical students´ empathy and their engagement in artistic activities.MethodsStudents enrolled at 11 Portuguese medical schools were invited to participate in an online survey. The survey included questions about their artistic practice, and the Interpersonal Reactivity Index (IRI) to measure empathy.ResultsA total of 450 medical students completed the survey. 158 students (35%) were actively engaged in the arts, 118 of which practiced music (75%). Participants involved in artistic activities demonstrated significantly higher scores in the Fantasy subscale compared to their peers. Participants engaged in multiple artistic activities scored significantly higher in overall IRI, as well as in Empathic Concern and Fantasy subscales, compared to those practicing only one artistic activity. Participants who began their artistic practice earlier tended to achieve higher scores in overall IRI and on the Empathic Concern subscale.ConclusionsThe present study highlights a significant positive association between artistic practice and empathy levels among medical students. Further research is recommended to clarify this association, potentially informing revisions to medical school curricula.

Enhancing Creativity: The Impact of Multilingualism on Creative Arts Instruction and Expression in South African Schools

Teachers heavily rely on the dominant language of instruction—a spoken and written mode of communication—rather than expressing creative art forms through actions, signs, symbols, and other means. The reliance on monolingual forms of instruction to teach these art forms may diminish their efficacy. This research thus aimed to optimise the use of multilingualism in the context of Creative Arts and expression. Teachers teach Creative Arts with the aim of equipping learners with fundamental knowledge and skills in the arts, thereby fostering creativity, imagination, and appreciation for artistic activities. Multilingualism also entails using the human senses to see, understand, and navigate the various symbolic worlds humans encounter. The study adopted a transformational paradigm based on qualitative participatory research, focusing on ten eighth-grade learners purposefully selected from a particular school. Semiotics, the study of signals and the epistemology of their presence in society, served as the theoretical foundation for the research. The researcher collected data through focus groups and observations and then used a narrative analysis method for analysis. The findings revealed that limitations such as insufficient instructional time, a lack of training and linguistic dominance, a lack of resources, and limited preparedness impede the effective use of multilingual instructional methodologies. The researcher concludes that compulsory incorporation of semiotics in Creative Arts instruction may be crucial in fostering creative thinkers who cannot only express creative practices in a conventional manner but also use their talents in other domains, such as animation in creative practice. Keywords: Multilingualism, Creative Arts, Semiotics, Transformational Paradigm, Participatory Research.

Visual arts activities relate to interest and cortisol for children in Head Start preschool.

Visual arts activities relate to interest and cortisol for children in Head Start preschool.