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The purpose of this paper is to refine and measure esthetic development.

Three phrases of data collection were conducted utilizing four separate student samples (n = 120, 154, 241, and 343). In Phase I, an initial esthetic development stage model was tested with a constructed response test format using generalizability measurement theory. In Phase II, this conceptual model in esthetic development was refined with a modified constructed response format. In Phase III, a selective response test format was designed with five esthetic development stage scores, which were correlated with several artistic discipline-based and interdisciplinary courses.

Higher esthetic development stages correlate with verbal ability and grades in interdisciplinary general education arts courses. Lower esthetic development stages were associated with lower verbal ability and grades in traditionally taught discipline-based arts courses.

What this study did not do is examine whether attendance at arts events and activities support or lead to higher esthetic development.

People at Stages Four and Five of this esthetic development model are able to compare artistic experience – whether visual or performing art – within a historical and cultural context or perspective. Individuals at these highest stages are able to communicate about the social significance and societal themes of the artistic experience to wider audiences.

No accepted model or assessment method about the arts in higher education is available. Although the arts are commonly accepted as important in higher education, there is a paucity of research about esthetic development in the curriculum. This paper attempts to address this gap, in part, and to advance further study about quality of arts’ programs and activities in higher education.

Collaborative arts incorporate theatrical elements including sound, movement, text, design, technology and visual elements into a synthetic original form of art. This paper examines a sub-category of collaborative arts, New Music Theater, in the contemporary context from the 1980s onwards in Hong Kong.

Interviews with artists Kung Chi Shing, Steve Hui and Amy Chan exhibit their personal creative and collaborative experiences.

These interviews provide a view of the current practice of New Music Theater in Hong Kong.

This paper highlights the emergence of a new art form in Hong Kong and fills a gap in the relevant literature.

Despite widespread acknowledgement of the importance of leadership education, undergraduate leadership degree programs in Canada are limited and, in some cases, struggling for survival. This case study examines the ways in which competing discourses of careerism, postsecondary corporatization, liberal arts education, and business education impact an undergraduate leadership program’s sustainability.

The purpose of this paper is to present a study of arts engagement for mental health service users in Denmark.

The study was completed at Hans Knudsen Instituttet, Denmark. It involved analysis of emerging themes from semi-structured interviews with six participants who had participated in a structured visit to the National Gallery (Statens Museum for Kunst) in Denmark.

Multiple benefits for people who use mental health services engaging in arts activities are reported. Arts activities are described as a central component of everyday life; a way of life and a significant factor in getting through the day. Barriers are identified in the interdisciplinary working between the museum educator and participants.

This study identifies that the participants benefited from taking part in the arts/cultural activity. Findings also suggest that if museums are offering activities to people who use mental health services they should equip staff with training designed to support appropriate ways of working with this group. This interdisciplinary activity offers a relatively untapped potential arena of support.

The paper will be of relevance and value to those working with mental health and arts. The study demonstrates the importance for mental health service users to engage in creative activity and for museum staff to have appropriate skills for inclusion to be successful.

This paper relates the connection and influence of arts‐based training and practical experience to entrepreneurial endeavors.

The paper was based upon anecdotal examples as well as author‐performed surveys and inquiries examining entrepreneurs who have arts backgrounds and use arts practices in their businesses.

Many entrepreneurs have backgrounds in the arts and apply those practices in their businesses. Universities separately teach related arts practices and business practices in their respective departments but rarely combine the efforts in an interdisciplinary manner.

By creating interdisciplinary approaches between arts and entrepreneurship, benefits can be achieved in both areas in the universities, small businesses and large‐scale corporate arenas.

This paper is possibly the first to suggest a direct correlation between arts training and entrepreneurial endeavors. Businesspeople may be inspired to examine the arts world as a resource for training in entrepreneurship and initiative. Entrepreneurs may be inspired to explore the arts for training.

In the following theoretical article, the author generates a theory of Leadership Pedagogy and its connection to Creative Arts Education.

The article analyzes Leadership Theory across three pillars: Socio-relational, Cognitive and Creative, and how these areas underscore thoughtful and caring pedagogy and inclusive teaching in undergraduate education.

Drawing on the Scholarship of Teaching and Learning (SoTL), the article advocates for a flexible, multifaceted approach to curricular design rooted in theoretical pluralism, prioritizing interdisciplinary methods to bridge theory and practice in Creative Arts Education.

The article concludes with implications for future research and collaboration connecting Leadership Studies and the Arts.

Higher-education institutions have an increasing responsibility to foster “global citizenship,” enabling students to recognize injustice and pursue equity. As a first step to creating a larger “hub” for global justice, McMaster University set out to develop an interdisciplinary course on the topic. With high-level institutional support, a cross-campus, interdisciplinary course design team was formed to further investigate effective pedagogy. Inquiry-based learning (IBL) was considered a foundation for other learning strategies within the course because of its evidenced ability to instigate a process of “learning by doing,” requiring students to both self-direct their education and develop their capacities as independent learners. To provide a further evidence base, a student member of the committee also conducted a pan-Ontario study surveying relevant instructors on successful global justice pedagogies. Collectively, these findings were integrated to inform the development of “Global Justice Inquiry,” which is characterized by its small course size, open-inquiry style, and engagement of alumni, community partners, and faculty from across campus. This chapter details the process followed to develop this course, presenting it as a model that might be helpful to others looking to develop interdisciplinary inquiry offerings.