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The fundamental relationship between art and resilience is striking in this passage and in the reflections shared by other artists. This paper aims to attempt to piece together the fragmented and insecure realities in South Sudan through the lens of different artists. The paper argues that focusing on art is an important way into a deeper more nuanced picture of how women and men find and maintain resilience in humanitarian contexts.

The data is qualitatively collected through an innovative art-based creative method known as story circles. The circles consisted of artists who shared what their art form meant to them.

The picture that emerges contrasts starkly against the dark narratives that commonly portray South Sudan. Art making spaces and the outputs that come from them are cultural resources often overlooked by humanitarian stakeholders and yet, as the authors show, hold the potential to support more locally rooted and responsive approaches to resilience building.

Very little research has been conducted on the ways in which people in South Sudan draw on and find resilience in art and art making.

There is a lack of clarity about what constitutes Science, Technology, Engineering, Arts and Mathematics (STEAM) education and what the arts contribute. In this paper the authors discuss a distinct model, theorised from a five-year study of a particular, innovative STEAM education project (The Imagineerium), and developed by the researchers through working with primary school teachers in England within a second project (Teach-Make). The paper examines how teachers implemented this model, the Trowsdale art-making model for education (the TAME), and reflected on its value and positive impact on their planning and pedagogy.

The paper draws on two studies: firstly, a five-year, mixed methods, participative study of The Imagineerium and secondly a participative and collaborative qualitative study of Teach-Make.

Study of The Imagineerium showed strong positive educational outcomes for pupils and an appetite from teachers to translate the approach to the classroom. The Teach-Make project showed that with a clear curriculum model (the TAME) and professional development to improve teachers' planning and active pedagogical skills, they could design and deliver “imagineerium-like” schemes of work in their classrooms. Teachers reported a positive impact on both their own approach to supporting learning, as well as pupil progression and enjoyment.

The paper argues that the TAME, a consolidation of research evidence from The Imagineerium and developed through Teach-Make, offers both a distinctive and effective model for STEAM and broader education, one that is accessible to, valued by and manageable for teachers.

This paper describes how a pre-service teacher’s knowledge and pedagogy changed as she documented her reflective practice while teaching arts-integrated lessons in a fifth-grade classroom during her pre-service teacher preparation program. The pre-service teacher spent three-months conducting an action research project in collaboration with a university mentor.

This paper explores what she and her mentor learned as she prepared arts-integrated lesson plans based on the four studio structures for learning and analyzed them along with identifying and documenting evidence of deep learning through field notes and video recordings.

Analysis of field notes, video recordings and lesson plans led the authors to take a deeper look at where the four studio structures for learning overlapped in the teaching event. In the data the intersections of the four studio structures shared a pattern of increased evidence of deep learning for the students. This paper describes the phenomenon in the classroom at various points of intersection.

This action research study is preliminary, and the findings are suggestive of further research that would require indexing what deep learning looks like and gathering and analyzing student data.

It is recommended that teachers use the four studio structures to integrate the arts in their classrooms and to enhance and encourage creativity, communication, critical thinking, collaboration, character and culture and as teachers work toward deep learning for students.

This case shows how a university partnership provides fertile ground for educators of all skills and experience to participate in the expansion of the field of education as well as personal and professional development.

Through research on child sexual abuse (CSA) and adult survivors, knowledge is gained. This knowledge might support decisions – whether political, professional or otherwise – that affect the lives of children who are victims of CSA and adult survivors. Additionally, this knowledge influences what the public knows about CSA and adult survivors and as a consequence, how child victims of CSA and adult survivors are treated in everyday life. Given the huge impact research can have on survivors' lives, this chapter raises the question of what aspects of CSA and survivorship are relevant for survivors from survivors' perspective and whether these aspects can be addressed by Participatory Action Research (PAR) as a research paradigm. To identify relevant aspects, survivors' artwork is analysed because art is a way to contribute to public discourses with very little regulation. For analysis, the Sociology of Knowledge Approach to Discourse is used. In this chapter, we introduce basic theories of knowledge from a constructivist perspective in a short background section and explain the aim and method of analysis. Afterwards, we present some key aspects of survivors' art on CSA and survivorship: The invasiveness of CSA, speech, the symbolic violence behind physical abuse and issues of injustice and responsibility are discussed. Additionally, the discursive relation between artists and audience is of interest to finally answer whether – and, if so, why – PAR is an appropriate research paradigm to address these aspects.