<scp> <b>CREATING WELCOME LEARNING</b> </scp> <b> <scp>ENVIRONMENTS</scp> : <scp>USING</scp> </b> <scp> <b>CREATIVE ARTS METHODS IN LANGUAGE CLASSROOMS</b> </scp> , Edited by JaneAndrews and MaryamAlmohammad, Multilingual Matters. Price <scp>USD</scp> 69.95 (hardcover, <scp>ISBN</scp> : 978–1–78892‐578‐5), <scp>USD</scp> 19.95 (paperback, <scp>ISBN</scp> : 978–1–78892‐580‐8), <scp>USD</scp> 13.00 (ebook, <scp>ISBN</scp> 978–1–78892‐579‐2). 150 pages

Educators have long integrated the arts into language education, enhancing instruction and benefiting students in analysis, comprehension, and communication (Farokhi & Hashemi, 2012). Increasing research has shown that arts activities positively impact learners' linguistic skills and abilities (Thulasivanthana, 2020). The book under review, edited by Jane Andrews and Maryam Almohammad, adds to the growing scholarship on incorporating arts into language education. It is a collection of chapters written by teachers, creative practitioners, and researchers, focusing on creating inclusive and equitable learning environments for English as an additional language (EAL) learners in the United Kingdom. The settings where these creative activities developed span various educational environments, such as primary schools, secondary schools, a school catering to multilingual speakers with special educational needs and hearing-impaired students. The book aims to present principles that merge creative arts techniques with teaching methods that bolster English language skills in schools or colleges in anglophone societies. These principles are (1) — valuing and obtaining the expertise of all participants through professional discussions; (2) experiential learning—encouraging teachers to engage in hands-on experiences with arts-based approaches and to tailor activities to their own teaching contexts; and (3) decolonizing ethos—avoiding exploitative practices. In the opening chapter, Jane Andrews and Maryam Almohammad review previous research, highlighting the central role of the arts in enhancing identity expression and fostering inclusivity among multilingual learners. As they delve into the implementation of arts-based teaching, the authors candidly mention potential challenges: increased demands on educators, the quest for resources, and the essential need for technological and confidence support. They advocate for collaborative efforts from multiple specialists and the broader community to address these challenges. This collaborative ethos is foundational to the arts-based teaching methodology presented in the book. The chapter concludes with a concise summary of the projects shaping the book and provides an overview of the book's structure. In Chapter 2, Alison Phipps addresses the challenges educational systems face when they emphasize curriculum and English development while sidelining students' own linguistic resources. Such an emphasis can create an unwelcoming environment for international learners. She champions an educational setting that highlights three key pillars: a ceremonial reception for students and their families, a thoughtful integration of their diverse languages, and the incorporation of arts to decolonize the learning experience, thus creating safer educational spaces. Based on that, Phipps introduces her “English Last” principle (Phipps, 2019)—not suggesting to avoid English, but implying that in certain learning activities English can occasionally recede, allowing students to engage with their native linguistic preferences. However, the chapter lacks clarity on when English should take a more prominent role, which is crucial since the ultimate goal is to develop students' linguistic skills. Overall, this chapter sets a predominant tone for the book, prioritizing a welcoming learning atmosphere and effectively challenging monolingualism. In Chapter 3, Maryam Almohammad highlights the significance of community filmmaking within intercultural language education. This approach is inherently collaborative, involving learners, peers, teachers, artists, and community members in the filmmaking process. It encourages students to showcase their distinct linguistic and cultural backgrounds, empowering them to craft short films that resonate with their experiences and identity. Additionally, subchapters 3.1 and 3.2 explore how filmmaking is adapted within primary and secondary educational spheres for deaf students. These practices underscore the universality of filmmaking principles and their efficacy across diverse multilingual settings. Nevertheless, limited access to cameras and software, funding issues, and technical skill gaps among educators and students can be significant obstacles, especially in underresourced schools. In Chapter 4, Lyn Ma delves into the utility of creative arts in effectively teaching English to vulnerable populations, including refugee children, students with special needs, and EAL students. These students often grapple with expression due to both emotional and linguistic challenges. Ma underscores how an arts-centric curriculum can nurture diverse learning avenues, foster collaboration, and offer modes of self-expression that transcend language barriers. However, the author points out that refugee children and students with special needs may have experienced trauma, making them sensitive to certain activities. Ensuring that creative activities are trauma-informed is essential. In Chapter 5, Gameli Tordzro and Naa Densua Tordzro present a comprehensive rationale for utilizing music and textiles to craft welcoming educational atmospheres. These environments cater to diverse linguistic and cultural contexts, acknowledging educators, learners, and the plethora of competencies stemming from their rich cultural tapestries. Building on this foundation, the subchapters investigate the interplay of music and spoken word activities, such as singing, DJ-ing, and broadcasting school announcements in students' native languages. These endeavors champion inclusivity, laying the groundwork for cultural interchange, community cultivation, and enhanced language acquisition. A conversation with poet and musician Tawona Sitholé in Chapter 6 highlights the importance of integrating artistic disciplines into teaching. In subchapter 6.1, Anna Comfort explains how singing and drama help non–English-speaking newcomers acclimate to educational environments, benefiting EAL students in their English learning. Dominique Moore, in subchapter 6.2, describes a secondary school using poetry in students' mother tongues to enhance English fluency, expedite curriculum comprehension, and engage beginners in their English learning journey. In Chapter 7, Luci Gorell Barnes presents the Welcome Banner initiative, a collaborative artistic project aimed at enhancing cultural exchange and inclusivity among EAL women in the UK's Branching Out group. This platform provides a sanctuary for women to hone their English communication skills, encompassing both speech and writing, and also to assist each other with translations. Beyond bolstering their English skills, this initiative empowers women by bolstering their cultural exchange and community bonds. In Chapter 8, Jean Conteh offers insights into the current state of EAL learners in the UK, weaving in discussions about the transformative potential of creativity in teaching for the future. This chapter highlights two pivotal theoretical constructs from language education: Funds of knowledge (FoK) and translanguaging. While FoK emphasizes the interconnection of schools, families, and communities, translanguaging emphasizes the integration of languages within classroom environments. These two theories seek to foster reciprocal empowerment and equality between schools and communities through connection and inclusivity, aligning with the two guilding principles: collaboration and decolonization. Regarding the first principle of cooperation, the book emphasizes that effective creative practices require engagement and synergy among multiple parties. However, as Hargreaves and Fullan (2012) discuss, educators often face significant challenges such as resource limitations and heavy workloads, which can hinder their ability to fully engage in collaborative efforts. These challenges are echoed in this book, which identifies similar obstacles for EAL educators, including technological support and confidence issues. Addressing these challenges and providing practical insights on adjusting the scale of creative endeavors based on available resources would be advantageous, particularly for innovative practitioners. For the second principle, experiential learning with arts-based approaches, the book emphasizes that the value of a creative activity should not be judged by external criteria such as test scores or standardized metrics. Instead, it should be evaluated by the intrinsic worth of the activity itself, which can be the learners' sense of belonging and personal satisfaction. Nonetheless, many TESOL practitioners are faced with institutional pressure to conform to traditional modes of instruction and assessment. Following Gibbons (2009), who provides strategies for balancing innovative teaching methods with the demands of standardized assessments, it would be beneficial if this book offered practical guidance to negotiate this gap or recommendations to ensure genuine linguistic learning happened in the creative practice. Adhering to the last principle of a decolonial ethos, the book illustrates that EAL education goes beyond linguistic competence to include justice, equity, diversity, and inclusion. It promotes an English later ideology, prioritizing a welcoming learning environment where English temporarily recedes to allow for trauma healing, inclusivity, confidence building, connections, and belonging in the path to decolonization. Consistent positive feedback from participants across multiple chapters affirms the efficacy of this arts-centric approach in creating trauma-informed education, decolonizing pedagogies, and fostering cultural exchange and inclusion within EAL curriculums. Overall, this book integrates its three guiding principles across creative projects within the multilingual learning landscapes of the United Kingdom. However, the themes and principles discussed in the book are relevant to a broad international audience who can benefit from its insights and practical examples. Through detailed arts-based practices, the book outlines transformative pedagogical practices suited for varied EAL settings and showcases ways to engage multilingual learners of all ages. The summary of ideas for practices at the end of the book aids TESOL practitioners in discerning among a myriad of techniques, offering guides on where to commence their journey. This book stands as a valuable resource for researchers, educators, and teacher trainers keen on harnessing arts-centered methodologies for EAL learners.

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