Mark D. Price

The aim is to provide a systematic review answering Cremin and Chappell’s call to fill gaps in discipline-specific knowledge of creative pedagogy approaches and methods. The expected outcome is a theoretical model of drama-based pedagogy in teaching modern foreign languages which is geared to the practical implementation of the key elements of creative pedagogies as established by Cremin and Chappell’s (2021) systematic literature review. There is a substantive body of knowledge on creativity, but precisely how it is fostered and embedded within an educational context and across different subject domains remains under researched. The recent systematic review of literature by Cremin and Chappell (2021) covered empirical research spanning almost 30 years. It identified the seven key pedagogical characteristics which define the aspects of creative pedagogy which most enhance teaching for creativity. Additionally, Cremin and Chappell highlighted the lack of discipline-specific investigations into creative pedagogies. This deficit in the literature prompted us to critically review and synthesise empirical research in teaching modern foreign languages (MFL) through a particular interdisciplinary pedagogical approach of drama (DBP).

This UK-based case study focuses on strategies for effective mentoring in teacher training via the use of Twitter (now X) and Zoom. A qualitative approach was utilised (n=33). Findings revealed that while mentors understood their role, effective mentoring required better coordination among mentors, mentees, and placement institutions. Participants identified key barriers, including time constraints, workload, and compensation for mentoring. The study suggests how teacher educators can respond to challenges using bespoke strategies and the need for overarching changes to the UK's educational infrastructure in supporting the development and mentoring of trainee teachers.

Starting with the axiom that embodied knowledge is the only mode of knowledge we possess, this essay argues that courage is a key virtue for artistic and philosophical research. It is rare for our cultural institutions to recognize or reward this virtue. The exploration of our somatic relations to ideas has largely been side-lined as a ‘merely subjective’ pursuit. The most obviously embodied arts such as dance and song are generally presumed to have (at best) a trivial relationship to knowledge. I argue that these arts provide a vast network of under-explored roads to knowledge due to their proximity to the pre-conditions for being alive at all. Breathing, vocalizing and moving are essential to thought and knowledge. The emergent field of performance philosophy explores how rigorous and repeatable experiments in somatic thinking are possible and desirable.

Western thought emphasizes rival philosophical schools, engaged in winning or losing debates. Canonical references to thinkers as midwives, nurses, or mothers of ideas are rare. Such metaphors would imply not an enemy but rather a co-creator, and an intimate co-operation. Attempts to vanquish the canonical masculine-dominator style of thought with some version of a non-wounding, compassionate mode of thinking readily mimic the power-structures and gender-binaries they seek to oppose. Such is the problem this chapter addressed. During the last three years, the authors have collaboratively explored philosophical, theological, and aesthetic issues via a praxis-led ornamentation method. Starting from NOTHING, they allow elements which seem meaningless in themselves to entangle through intra-action. Neither author has any territory or position to attack, judge, or defend. The chapter is not a dialogue, not a dialectic, nor even two-persons-making-something-together. It is a trans-human performance that allows the space and material between the contributors to become a/live environment—an ecology in which the world can create itself.

This year Standard Collective brings it?s seventh international exhibition to Bolton Art Gallery. For almost a decade the group has deepened their artistry and friendship via their exhibitions, working in a spirit of close co-operation and lightly defined boundaries. Their evolving dynamics have generated art projects which allow for both cohesion and difference. While planning their first exhibition in 2016 members of Standard met Elmar Brinkmöller, a leading figure of the independent art group Raum für Kunst in Germany. This meeting led to invitations for the group to exhibit in Paderborn?s Raum für Kunst Gallery. During the Covid lockdown, digital work was forwarded for exhibition at the Forum Junger Künstler, Paderborn?s civic gallery.In ?Lines in the Sand? Standard invited the Paderborn artists to share an exhibition space to explore their experiences of a changing Europe. The title was suggested as a starting point for visual responses to these changes. The Standard/ Raum für Kunst relationship was born at the onset of the political upheaval caused by calls for Britain to leave the European Union. The group considered and produced work reflecting the immediate impact and ongoing consequences of Brexit, but UK-EU relations are by no means the only salient issue for this international artistic co-operation. All of Europe has to contend with the rise of various ethno-nationalisms, calls for cultural conservatism, even claims about the need for increased isolation. Europe?s lines are being drawn and re-drawn at all levels. Some are abstract, legal and economic, or military and political: these inevitably connect to changing lines and contours of private and public feelings, attitudes, and sympathies. The artists exhibiting here differ in their interpretations of the theme and their modes of expression, but their sharing of space and commitment to ongoing international co-operation is a vote of confidence for creative and peaceful resolutions