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This research explores the ways in which a pre-service teacher (Deidre) reflects on experiences to develop transformation into a professional educator. This study investigates how pre-service teachers engage in dialogue and art to elaborate and reflect on learning experiences, which provide evidence of mindshift and emergent knowledge and teacher identity.

Often difficult to measure and trace, this work presents the emerging transformation of a pre-service teacher through ethnographic methodology, stories and artful practice.

As part of a larger study, the design reveals transformative mindshift from pre-service teacher reflective stories. Data from interviews and artful practice reveal evidence of moments of pedagogical impact, which contribute to identity and professional practice (Clandinin et al., 2006; Loughran, 2006).

Focusing on “what”, “when” and “how” transitions occur is explored to further understand the professional development in initial teacher education.

Building on research undertaken by Cochran-Smith and Lytle (1999), this investigation draws on artful reflections and stories to evidence elements of powerful pedagogical learning in order to teach in the world of professional practice.

This paper aims to explore the phenomenon of workplace bullying in response to recent calls for the development of different approaches and provide an exploration of artful approaches to intervention.

The paper offers a unique conceptualisation of workplace bullying and applies a phenomenological lens to the issue. A review of literature explores the potential value of artful interventions, and drawing on authors’ knowledge and experience with the targets of bullying, they design a forum theatre intervention for use in practice.

This paper argues that phenomenology offers a unique and valuable approach to understanding workplace bullying and its management. In turn, the authors propose that artful ways of engaging with workplace bullying could be an effective way of empowering workers in a “moment” of workplace bullying, and present a forum theatre workshop specifically designed for application in workplace contexts where bullying is prevalent. The three-phase workshop aims to help employees critically reflect on their current work practices and is intended for use in small group teaching.

The long-term impact of this intervention has not been evaluated against more traditional methods of addressing this problem. Future research should evaluate the efficacy of this, and other art-based interventions, in workplace settings.

Workplace bullying research is predominantly conducted from a functionalist perspective, and other methods of inquiry, such as phenomenology, are rarely considered. This paper argues for artful interventions and provides an original, tailored workshop designed to empower employees to recognise and respond to bullying in the workplace.

The purpose of this paper is to illuminate the way in which pre-service teachers adopt ways of thinking critically about learning and practice. It highlights the unfolding of critical dialogue, knowledge and artful action as a way of “reading the scene” (Pahl and McKenna, 2015). The focus concerns mindshifts that occur while learning to be a teacher. The study sets out to seek factors that contribute towards development as professional practitioner.

As part of a much larger study involving ten pre-service teachers, this paper focusses on just one participant named Meredith, a pre-service teacher in her fourth year of her teacher education course. The design constructed draws on the data from Meredith’s interview and conversation, art making and gestural activity while painting and communicating her stories. These narratives from interviews exist in this paper as vignettes and privilege of the interplay of art making, interview and gestural responses. Implementing a framework by Denzin (2001) enables a way of reading to note learning and epiphanic moments that exist for Meredith.

Moment of learning and themes are indicated and suggest that from the original interview there are 11 important moments of epiphanic mindshifts for Meredith.

The method as practice intends to make cogent links to new levels of consciousness by presenting innovative ways in which qualitative research data can be gathered and analysed. Meredith engages in mindshifts that occur as learner and also embraces experiences of praxis as a means of understanding self and teacher identity.

Arts‐based learning in business is a young field. Few businesspeople are aware of the opportunities to learn about it. This article takes an international look at the most prominent programs that bring together businesspeople, artists, and academics in various combinations.

Over the past several years, the author has interviewed people active in the field in the USA and Europe. This survey article brings together her findings.

There are many opportunities for learning. Some bring artists and businesspeople together; some combine academics, artists, and businesspeople; and within the academic community there are many opportunities for artists and academics.

Businesspeople will learn and take advantage of learning opportunities.

The author has not seen such a survey published elsewhere.

We present an instructional strategy in which children utilize critical thinking skills to interpret images related to social studies concepts. To illustrate, we focus on teaching First Amendment freedoms; however, we encourage teachers to apply the strategy with other social studies concepts. Using visual media such as paintings and photographs to teach abstract social studies concepts can be especially helpful for teachers working with English language learners and young children. Suggested resources for locating images for classroom use are provided.

The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex “way of knowing” has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived.

The autoethnographic discussion has an overlay of histography as it brings the “real-life” word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method.

In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic “process” leads “psyche” to an empathic space for acceptance of the fugitive selves and demonstrates “queerness” through the narratives as monologues.

The vignettes presented as monologue attest to the authors’ life histories and their “fugitive” ways of being as gay men.

The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations.

Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

The purpose of this paper is to present the views of Robbie Steinhouse, a CEO of a property and insurance business, on strategic decision making.

The paper comments on the best ways to make strategic decisions in business in times of difficulty. It also provides a series of questions which it suggests can help in the decision‐making process.

The paper finds that implementation of decisions is best done as slowly as possible. The great decision maker moves at the speed that is required by the situation, which may be very fast indeed, or can be quite slow.

The paper provides useful information on strategic decision making in the business environment.

Rhetorical works (schemes and tropes) can increase advertisement liking. Because liking impacts advertising effectiveness, this study aims to investigate if positive processing, brand awareness, and persuasion outcomes previously associated with rhetoric are spurious and chiefly attributable to liking.

An experiment (n=448) employed natural advertising exposure conditions and a 3 (headline: nonfigurative, scheme, trope)×2 (copy length: long, moderate)×2 (involvement: high, low) between‐subjects factorial design.

Absent of liking differences, schemes and tropes are robust motivators of available resources devoted to processing (elaboration and readership). Favourable arguments only influence brand awareness and persuasion if processed. Consumers negatively view longer copy. Nonfigurative headlines encourage insufficient processing as copy lengthens. Insufficient processing decreases brand awareness and persuasion. However, schemes and tropes overcome negative copy length effects on brand awareness and persuasion regardless of involvement.

Without the benefit of increased liking, schemes interfere with copy point and brand memory similar to other creative attention‐getters – humour and sex appeals. Instead, schemes focus consumers on advertising style. The results are based on consumer responses; thus, error may make differences harder to detect. Another limitation is the focus on a single low‐risk, informational product, i.e. pens. Future research should investigate effects of rhetorical works with high‐risk and transformative products.

Advertisers should use rhetorical works to motivate processing, especially with longer copy explaining advantages of new, technical, or complex products. Also, effective rhetorical works need not create positive affect.

Isolating advertising rhetoric effects from liking differences explains anomalies in the literature (e.g. scheme versus trope superiority).

This paper introduces the concept of posthuman co-production. It explores how processual and relational onto-epistemologies inform an artful, response-able (Barad 2007) feminist new materialist praxis that decentres the human and re-centres matter.

Posthuman co-production gives prominence to crafting “dartaphacts” (Renold, 2018); creative research artefacts, carrying “what matters” and enacting change that can be mapped across time and multiple “problem spaces” (Lury, 2020), as an expansive, post-qualitative praxis of slow, co-production.

The paper stories this praxis across three “fugal figurations” providing glimpses into the post-qualitative journeys of assembled dartaphacts in the policy and practice field of relationships and sexuality education (RSE) in Wales. Each fugue hints at the polytical, resourceful and living potential of dartaphacts in the making and their mattering over a period of six years. Collectively, they chart a rhizomatic journey that re-configures co-production as a response-able, becoming-with what matters.

As more-than-human forces for change, dartaphacts continue to surface “the cries of what matters” (Stengers 2019) for children and young people well beyond the periods of funded research and engagement, giving new meaning to the sustainability and material legacies of research impact.