Tales of transformation through children's global arts: a living dissertation
Notice bibliographique
Résumé
Since its inception in 2003, it is becoming increasingly evident that meaningful pursuits in the field of Children’s Global Arts can change lives. The specific intention of this research has been to document ‘tales of transformation’ as shared by various global arts participants to discover how individuals can alter the way they perceive the world and their role within it. \n\tThrough the power of art, story, and relationship, a renewed perspective of education emerges that compels us to look very differently at what it means to teach and to learn in an interdependent and fragile world. By the closing chapter, hope for humanity is restored by rethinking schools as agents for change where a focus on disposition and inquiry rather than curriculum and methodology, provide the value and significance for education in the 21st century. \n\tChapter 1 opens up the dialogue by presenting the challenges facing many children in the world today, including those living in ‘privileged’ societies such as Canada. It also confronts the educational profession to assume its role and responsibility in addressing the problems and solutions that face children and the world. \n\tChapter 2 provides background knowledge and theory in areas significant to this dissertation, including transformational learning, educational change, arts-based research, and child advocating philosophies. \n\tChapter 3 explains my research intention and process, including a glimpse into humanistic and holistic pedagogy. \n\tThe true beginning of this dissertation unfolds in Chapter 4 as stories begin to be told through a pivotal Children’s Global Art’s event - the Learning and the World We Want conference - held in Victoria in November 2003. The serendipitous nature of this initiative also unfolds through the highlighting of the Global Arts catalogue, DVD, website, Children`s Global Arts Foundation, and team approach. \n\tThe classroom and community scenarios revealed in Chapters 5-8 demonstrate ways in which the global arts project, under the mentorship of experienced educators and facilitators, have provided a safe environment for students of diverse age, background and worldview, to break through a “culture of silence” through creative and candid encounters with Self and Others. \n\tChapter 9 compels us to look critically at Canada’s privileged society and culture, and brings awareness to the prevailing paradox and hegemonic forces at play when considering global educational initiatives. \n\tWeaving the global arts stories and patterns of this dissertation together, Chapter 10 highlights unifying elements of transformation, revealing answers to original research questions, and a refreshing sense of hope for our troubled world: \n•\tHow are experiences in Children’s Global Arts shifting the ways those involved view the world and their role within it? \n•\tWhat are the key elements that contribute to those experiences? \n\tChapter 11 outlines the implications and support for Children’s Global Arts at the classroom and school level by taking a closer look at basic school structures, and identifying ways in which they can be perceived differently in order to accommodate transformational understandings as identified in the preceding chapters of this dissertation. \nThe concluding Chapter (12) provides a final reflection of this research journey. \nWoven throughout the chapters of this dissertation, readers will also come across a few interludes, and a multiple arrangement of images and discourses, that bring greater depth and meaning to this journey, and help to convey the interconnectedness of experiences worldwide.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».