This chapter offers an account of a workshop in arts-based learning called “Metamorphoses of Organic Forms”. This detailed description of a particular practice may inform a discussion of ways in which artful approaches, in general, may come to matter in STEAM education, with implications for both educational research and practice. Added to that, the chapter argues that such art-based practices can also be relevant more widely in the context of sustainability education, such as on the theme of climate change. Precisely because the content of the art workshop at hand is not prima facie linked to it, there is an unexpected potential to take up such a tangential theme in an unusual way. Typically, participants feel invigorated to enter new territory – both spatial and mental. On a meta-level, the session can also be seen as a practice in facing complexity, uncertainty, not knowing. The chapter suggests that such artful educational practices have intrinsic merit if we are to equip new generations with skills to live in and endure “post-normal times”. In the workshop “Metamorphoses of Organic Forms”, participants are invited to imagine how forms in nature might either evolve or disintegrate over time. The workshop lends itself to follow-up lessons in biology and natural history. The outcome is not given. Participants go through a shared process step by step, following a sequence that is outlined for them as they go along. They are encouraged to imagine how natural phenomena might grow or decay in time and they do this in a series of short sessions where they sculpt works in clay. Such a practice in art-based environmental education is arguably a form of “poor pedagogy”. This educational activity is primarily and fundamentally an open-ended process. Rather than requiring an extensive methodology, its practice requires participants to surrender themselves to a process that will be unique each time it is performed. Such a practice is an expression of a view on education that is not centred on the transmission of knowledge but rather looks at attention as education and the education of attention.
Rian de Waal (1958-2011) has written a book about the piano, and how the development of piano playing has been very much dependent upon musicians who were able to cross borders. In Metamorphoses, the Art of the Virtuoso Piano Transcription, De Waal takes us on a journey through the capricious history of the piano transcription. At first revered by musicians and audience alike (and often the sole reason for the great fame of some pianists), the piano transcription later became despised and considered unnecessary, superficial, or even heretical. The fact that the piano transcription has survived such fierce resistance has very much to do with the special qualities of the piano as a musical instrument. De Waal like no one else is able to explain these qualities, and he brings them to the fore with verve and tenderness on the six CDs accompanying this book.Describing some remarkable moments in musical history, De Waal presents a candid overview of the historical developments surrounding the piano transcription. He explains how the genre fell from acclaim into disrepute, and lately seems to regain the rightful respect it deserves. But more than this, he provides deep-felt musical insight into what matters most: why are some piano transcriptions so good, and how do man and machine act together to make this so? The theme of the book is the piano transcription, but Metamorphoses is equally about change, possession, perception, respect, genius, transcendence, and ultimately, about human dignity.
