Academic literature on the topic 'Artists-in-school'

Now celebrating its eleven-year anniversary, Samos School of Dance is the island's first dance school to date. This presentation aims to describe the challenge in offering quality dance education during the current economic recession while balancing aesthetics in concert dance at the isolated location. The school continues to collaborate with local and visiting artists to broaden its venues and audiences. Through volunteering and community service, Samos School of Dance hopes to empower its students to become active artists. The community continues to strive for dance on its shores and for dancers who may choose to search further beyond its waters.

This paper explores a partnership between a high school, university researchers, and community artists in the service of improved student learning, empowerment, and self-expression through the urban arts. The Urban Arts Project partners teachers at James Lyng high school with hip-hop and other urban artists to develop units across the curriculum, supported by subject-area specialists from McGill’s Faculty of Education. In this article, we introduce the project and what we have learned about processes of school reform through cross-sectoral collaboration from the rst year of our partnership. This includes sharing the perspectives of the teachers and artists most actively involved in the rst year’s initiatives (with video interview links).

This paper documents an educational artist-in-residence program that was particularly active in some Ottawa Roman Catholic Separate School Board primary schools during the period 1970 to 1988. In schools where space was available, professional artists were assigned studio space as a means to encourage their participation in the day-to-day life of the schools. In exchange, the visual and performing artists offered non-teaching services that included mentoring and participation in stage plays, mural creation and art exhibitions. These activities mainly took place within the framework of the artists' everyday ongoing professional practice.

During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.

In 1788, English people settled down in Australia, cleared and cultivated the land, making a big turning point to this old continent. Australianness was still vague in these initial years of the white settlement. Heildelberg School, the first school in Australian art, which emerged in 1887, laid the foundation for Australia's visual arts history as well as forming the Autralianness with three mains characters: “strong, masculine labour”, “national myth” and “harsh land of unique nature diversity”. In this paper, the writer would like to introduce 7 masterpieces by three prominent Australian artists of the Heidelberg school: Tom Roberts, Frederic Mc.Cubbin, and Arthur Streeton.

From 1980 to 1983, I served as the Folklife in Education Coordinator for the Ohio Arts Council. The program is an outgrowth of a collaboration between the Folk Arts and the Artists in Education programs, which the National Endowment for the Arts designed to incorporate folk arts and artists into AIE's Artists-in-Residence program. By 1980 twenty-seven states offered some kind of school or community program where folk artists spent a period of days or weeks working with students of all ages. These programs are increasingly popular. Most states now offer residency programs, curriculum materials, and other opportunities for bringing students into closer communion with the folk traditions of their culture or geographic area through state arts agencies, folklife programs or Parks and Recreation departments.

This article describes some unusual ways of working with the special collections in the University of Southampton Library of Winchester School of Art. Two of these collections have proved particularly fruitful: numerous successful activities centred on the Knitting Reference Library have aroused great interest, and there is now a strategic aim of making it the primary research resource for knitting for artists, students, and researchers in the University, and also for the wider community locally, nationally and globally. The contents of the Artists’ Books Collection too are being shared with a new audience, through exhibitions, events and participation at artists’ books fairs.

<p> The scope of this thesis is to examine the potential benefits artists-in-residence offer students in community based after-school art programs. This thesis looks at two artists-in-residence who participated in the same after school program in southeast Washington, D.C., between the years of 2011 and 2013. The ArtReach After School program was developed by the Corcoran Gallery of Art's community education department and serves as the basis for research contained herein. Research focuses on the ways artists' residencies benefit youth and adolescents through aiding in the development of life skills. Data was collected through personal interviews with the resident artists, program directors, and students who participated in the residency. Researchers also observed interactions between students and resident artists on field trips and classroom observations. Based on the widely accepted theories of developmental psychologists Erik Erikson and Howard Gardner, it was found that artist residencies do nurture experiences that aid in the development of life skills such as critical thinking, collaboration, and peer-interaction in youth and adolescent learners. After-school art programs provide an environment suited for embracing these skills that are commonly outweighed by the need to raise test scores in traditional public schools. This thesis explores the potential of one after-school art program that has successfully implemented an artist residency program.</p>

<p> This mixed methodology study investigated the arts integration practices of music teaching artists participating in four selected elementary school arts integration projects in the United States. This study also explored the possibility that music teaching artists&rsquo; formal education, arts integration training and professional development, and their own attitudes as well as different stakeholders&rsquo; attitudes about arts integration and music education impacted their arts integration practices. The explanatory two-phase design of this study began with the collection and analysis of quantitative data and was followed by the collection and analysis of qualitative data, thus connecting the results from the former to those from the latter. The quantitative data provided information for purposefully selecting the interview participants who provided the qualitative data collection in phase two.</p><p> The data gathered in this study indicate that the music teaching artists shared similar beliefs about arts integration but that they believed their school leaders&rsquo; goals and objectives differed from their own. The data also provided evidence for concluding that the music teaching artists believe that the most successful arts integration projects are those that are collaborative partnerships between an arts specialist or classroom teacher and a teaching artist. A unexpected finding in this study was the teaching and exploration of <i>sound</i> in arts integration projects team taught between a sound teaching artist,&ndash;some without musical backgrounds or formal training&ndash;a music teaching artist, and a classroom teacher.</p><p> The statistical analysis in this study regarding the degree to which formal education, arts integration professional development and training, music teaching artists&rsquo; attitudes about arts integration, and the beliefs held by music teaching artists regarding school leaders&rsquo; and their arts organization&rsquo;s administrators&rsquo; attitudes about arts integration were predictors of the arts integration practices as self-reported by music teaching artists produced results that were non-significant.</p><p> The content analysis of curriculum documents and student products submitted by the study participants revealed information to support the findings from the interview and survey data.</p>

Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed July 23, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 214-232).

Lilian Westcott Hale (1880-1963) and her daughter Nancy Hale (1908-1988) built successful careers during a period of transition in America, as Victorian mores were replaced by new modern freedoms. Greater independence for women had evolved during the preceding century, before the influential cultural factors which occurred during the early twentieth century like urbanization and world war. This interdisciplinary analysis of Lilian Hale‘s artwork and Nancy Hale‘s writings demonstrates the imprint of the surrounding world on their work. Lilian Hale‘s art is influenced by her Victorian childhood, and Nancy Hale‘s fiction reveals many conflicts of the modern era. The study of these two women is enhanced by the wealth of primary documentation connecting their ideas and their lives to their artistic works. Both of the women ranked among the most respected in their fields during their lifetimes. Their works resonate with elements of their eras, demonstrating what it was to be a woman during the first half of the twentieth century. Lilian Westcott Hale and Nancy Hale both engage the gender constructs of their periods through their work. Lilian Westcott Hale‘s art is divided here into three distinct genres: her still lifes and landscapes express the confining environment the Victorian woman occupied; her idealized women reflect the period‘s taste for female perfection and beauty; her portraits and figure studies point to Hale‘s own distinction between males and females through their clothing and their poses. Unlike Lilian Westcott Hale, Nancy Hale demonstrates woman‘s new freedoms in an open manner, a result of the break with Victorianism. Hale‘s use of a literary medium allows her direct examination of the turmoil caused by the modern breakdown of Victorian structures. Lilian Westcott Hale refrains from harsh judgment of her daughter‘s world, while Nancy Hale‘s modern challenge of the previous era‘s standards leads her into troubling relationships and difficulties balancing her career with her personal life. Their work reveals the cultural ideologies of their respective eras and particularly the changes taking place for women.

<p> This is a case study that focuses on the socio-cultural and historical contexts that influenced the studio art practice of three Post-80s Generation student artists attending the Chinese Art School in Beijing. This study is grounded on the idea that the creation of art is determined by an interplay between multiple factors within the milieu (of what makes it understood to be &ldquo;art&rdquo; by the majority) and their influence on the artistic creation, which is non-assertive and invariably established in relation to others that happen to share and coexist within this processual context of doing and learning art making. On the other hand, the notion of a <i> context</i> in this study refers to a notion of &ldquo;genealogies&rdquo; where contexts are distanced from descriptions based on a horizontal platform or a lineal chain of events. Rather, in line with the methods that emerge from arts research and practice, this project operates on a &ldquo;messy&rdquo; yet sensible horizon of interconnections that transcend fixed notions of time and space.</p><p> While sixteen participants took part in data collection, the main focus is reserved to three student-artists. Data collection was conducted in the month of June in 2010 and 2011. Interviews and studio visits were the two methods applied for data collection. Data or narratives collected from the three research participants pertaining to the development of their studio art practices provided three avenues of interpretation: first, through the students&rsquo; own idiosyncratic accounts of their work and their student experience; secondly, through the lens of art as a collective entity from both the perspective of the participants and the researcher; and last, through a summative analysis, offering a number of possible explanations.</p><p> Through an analysis of the students&rsquo; artistic production and their art educational experience, this study aims at offering art educators, both within as well as outside China, with a discussion that illustrates the history and the stories of the Post-80s Generation student artists in the Chinese Art School.</p>

This study presents Aboriginal artists' perspectives on the study of Native art in the school curriculum. The case study is a naturalistic inquiry that employs ethnographic techniques to interview nine Saskatchewan artists, five females and four males. Overall, the artists agree on having Native art content in school programs, especially for Native students. All the artists believe that Aboriginal peoples should be involved in the definition and presentation of their art in the school curriculum. The artists show that content, and materials, may or may not be traditional. The artists prefer an observing and modelling approach to teaching bead and leather work, and to teaching drawing and painting. The male artists, primarily, support a research approach for studying the vast, diverse, and complex art of indigenous peoples. As well as learning about the art, the artists stress learning from the art including history, ecology, and about art from a non-Western perspective. The words, stories, and views of all the artists emphasize that art is a dynamic part of Aboriginal peoples' lives and cultures; one which they are willing to explain and share. Native art is a rich resource for school curriculum. It is a resource that must be and can be shaped by Aboriginal peoples.<br>Education, Faculty of<br>Curriculum and Pedagogy (EDCP), Department of<br>Graduate

<p> Latino English learners (ELs), among the largest student population in the United States K-12 school system, continue to lag behind their English-proficient peers. They also tend to attend segregated schools, have less-qualified teachers, and lack access to rigorous curriculum, including the arts. Museum education departments have increasingly sought to fill the gap in arts education for underserved populations. This mixed methods study explored the degree to which teaching artists (TAs) from a large metropolitan museum are effectively addressing the art education needs of Latino ELs. The dissertation study occured in two phases. Phase 1 included quantitative analysis of observations of the TAs using the numeric components and ancedotal evidence of the Observation Protocol for Academic Literacies. Phase 2 consisted of semi-structured interviews with the participants. Findings of the study indicate that while TAs can improve instruction in terms of providing materials of students&rsquo; native langauge and providing opportunities to transfer skills between their primary and the target language, they nevertheless use numerous strategies for effective English language instruction. This can inform museum education departments on effective teaching practices of ELs, an area of study that has almost no scholarship.</p><p>

In the shift to a globalised creative economy where innovation and creativity are increasingly prized, many studies have documented direct and indirect social and economic benefits of the arts. In addition, arts workers have been argued to possess capabilities which are of great benefit both within and outside the arts, including (in addition to creativity) problem solving abilities, emotional intelligence, and team working skills (ARC Centre of Excellence for Creative Industries and Innovation, 2007). However, the labour force characteristics of professional artists in Australia and elsewhere belie their importance. The average earnings of workers in the arts sector are consistently less than other workers with similar educational backgrounds, and their rates of unemployment and underemployment are much higher (Australian Bureau of Statistics, 2005; Caves, 2000; Throsby & Hollister, 2003). Graduating students in the arts appear to experience similar employment challenges and exhibit similar patterns of work to artists in general. Many eventually obtain work unrelated to the arts or go back to university to complete further tertiary study in fields unrelated to arts (Graduate Careers Council of Australia, 2005a). Recent developments in career development theory have involved discussion of the rise of boundaryless careers amongst knowledge workers. Boundaryless careers are characterised by non-linear career progression occurring outside the bounds of a single organisation or field (Arthur & Rousseau, 1996a, 1996b). The protean career is an extreme form of the boundaryless career, where the careerist also possesses strong internal career motivations and criteria for success (Baruch, 2004; Hall, 2004; Hall & Mirvis, 1996). It involves a psychological contract with one's self rather than an organisation or organisations. The boundaryless and protean career literature suggests competencies and dispositions for career self-management and career success, but to date there has been minimal empirical work investigating the predictive value of these competencies and dispositions to career success in the boundaryless or protean career. This program of research employed competencies and dispositions from boundaryless and protean career theory to predict career success in professional artists and tertiary arts graduates. These competencies and dispositions were placed into context using individual and contextual career development influences suggested by the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a). Four substantive studies were conducted, using online surveys with professional artists and tertiary arts students / graduates, which were preceded by a pilot study for measure development. A largely quantitative approach to the program of research was preferred, in the interests of generalisability of findings. However, at the time of data collection, there were no quantitative measures available which addressed the constructs of interest. Brief scales of Career Management Competence based on the Australian Blueprint for Career Development (Haines, Scott, & Lincoln, 2003), Protean Career Success Orientation based on the underlying dispositions for career success suggested by protean career theory, and Career Development Influences based on the Systems Theory Framework of career development (McMahon & Patton, 1995; Patton & McMahon, 1999, 2006a) were constructed and validated via a process of pilot testing and exploratory factor analyses. This process was followed by confirmatory factor analyses with data collected from two samples: 310 professional artists, and 218 graduating arts students who participated at time 1 (i.e., at the point of undergraduate course completion in October, 2005). Confirmatory factor analyses via Structural Equation Modelling conducted in Study 1 revealed that the scales would benefit from some respecification, and so modifications were made to the measures to enhance their validity and reliability. The three scales modified and validated in Study 1 were then used in Studies 3 and 4 as potential predictors of career success for the two groups of artists under investigation, along with relevant sociodemographic variables. The aim of the Study 2 was to explore the construct of career success in the two groups of artists studied. Each participant responded to an open-ended question asking them to define career success. The responses for professional artists were content analysed using emergent coding with two coders. The codebook was later applied to the arts students' definitions. The majority of the themes could be grouped into four main categories: internal definitions; financial recognition definitions; contribution definitions; and non-financial recognition definitions. Only one third of the definition themes in the professional artists' and arts graduates' definitions of career success were categorised as relating to financial recognition. Responses within the financial recognition category also indicated that many of the artists aspired only to a regular subsistence level of arts income (although a small number of the arts graduates did aspire to fame and fortune). The second section of the study investigated the statistical relationships between the five different measures of career success for each career success definitional category and overall. The professional artists' and arts graduates' surveys contained several measures of career success, including total earnings over the previous 12 months, arts earnings over the previous 12 months, 1-6 self-rated total employability, 1-6 self-rated arts employability, and 1-6 self-rated self-defined career success. All of the measures were found to be statistically related to one another, but a very strong statistical relationship was identified between each employability measure and its corresponding earnings measure for both of the samples. Consequently, it was decided to include only the earnings measures (earnings from arts, and earnings overall) and the self-defined career success rating measure in the later studies. Study 3 used the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via Classification and Regression Tree (CART - Breiman, Friedman, Olshen, & Stone, 1984) style decision trees with v-fold crossvalidation pruning using the 1 SE rule. CART decision trees are a nonparametric analysis technique which can be used as an alternative to OLS or hierarchical regression in the case of data which violates parametric statistical assumptions. The three optimal decision trees for total earnings, arts earnings and self defined career success ratings explained a large proportion of the variance in their respective target variables (R2 between 0.49 and 0.68). The Career building subscale of the Career Management Competence scale, pertaining to the ability to manage the external aspects of a career, was the most consistent predictor of all three career success measures (and was the strongest predictor for two of the three trees), indicating the importance of the artists' abilities to secure work and build the external aspects of a career. Other important predictors included the Self management subscale of the Career Management Competence scale, Protean Career Success Orientation, length of time working in the arts, and the positive role of interpersonal influences, skills and abilities, and interests and beliefs from the Career Development Influences scale. Slightly different patterns of predictors were found for the three different career success measures. Study 4 also involved the career development constructs validated in Study 1, sociodemographic variables, and the career success measures explored in Study 2 via CART style decision trees. This study used a prospective repeated measures design where the data for the attribute variables were gathered at the point of undergraduate course completion, and the target variables were measured one year later. Data from a total of 122 arts students were used, as 122 of the 218 students who responded to the survey at time 1 (October 2005) also responded at time 2 (October 2006). The resulting optimal decision trees had R2 values of between 0.33 and 0.46. The values were lower than those for the professional artists' decision trees, and the trees themselves were smaller, but the R2 values nonetheless indicated that the arts students' trees possessed satisfactory explanatory power. The arts graduates' Career building scores at time 1 were strongly predictive of all three career success measures at time 2, a similar finding to the professional artists' trees. A further similarity between the trees for the two samples was the strong statistical relationship between Career building, Self management, and Protean Career Success Orientation. However, the most important variable in the total earnings tree was arts discipline category. Technical / design arts graduates consistently earned more overall than arts graduates from other disciplines. Other key predictors in the arts graduates' trees were work experience in arts prior to course completion, positive interpersonal influences, and the positive influence of skills and abilities and interests and beliefs on career development. The research program findings represent significant contributions to existing knowledge about artists' career development and success, and also the transition from higher education to the world of work, with specific reference to arts and creative industries programs. It also has implications for theory relating to career success and protean / boundaryless careers.

The Institute of France has for centuries controlled royal or public support for the arts in France. Under its wings it has both a School of Fine Arts for the visual arts and the Paris Conservatory for music, as well as many other institutions. The schools of fine arts and music were set up along the similar lines. The goal was to train the next generation of artists and musicians in the classic arts of a past golden age. For visual artists, sculptors, and architects, this meant the art of ancient Greece and Rome. For musicians, this meant the art of sixteenth- to eighteenth-century Italy. For young artists outside the official School of Fine Arts, instructional lithographs could be purchased and copied. These lithographs showed how to make a sketch, then to refine the sketch into a set of contours, and then to add shading and texture.

This 1972 essay by UCLA art history professor Albert Boime services as a review of the exhibition The Art of the Comic Strip (University of Maryland, 1971), a social art history of artists working in comic strips, magazine illustration, editorial comics, and the Ash Can School fine art movement, and the crossover between these artists. This essay includes commentary on High art versus Low art, comics as art, and the Vietnam War.

Art collector Ramón Cernuda discusses how Cuban art was consolidated during the first half of the twentieth century, especially after the emergence of two generations of modern artists that are now considered the core of the vanguardia (also known as the Havana School). Cernuda notes that the international art market increasingly valued the work of Cuban artists such as Amelia Peláez, Víctor Manuel García, René Portocarrero, and Wifredo Lam. These artists appeared in numerous individual and collective exhibitions in major museums and private galleries, as well as in specialized art magazines and books. As Cernuda underlines, Cuban vanguardia painters reached a broad audience with Alfred Barr Jr.’s 1944 exhibition, Modern Cuban Painters, at the Museum of Modern Art (MoMA) in New York City. Ironically, the wide success of Cuban artists abroad led Cuban collectors to pay attention to them.

This chapter presents a historical account and analysis of Discover Graphics, a defunct museum-school-community partnership developed by the Smithsonian Institution, that for 24 years provided professional level printmaking studio and museum experiences to high school students, college students, and art teachers in the Washington, DC metropolitan region. The description and impact of the program on school districts, students, teachers, artists, and museum professionals are examined through archival materials, publications, the author's narrative of experience as a student participant in the program, and its transformative effect on her education and career. The chapter closes with a discussion about community printmaking programs that developed to fill the breach left by the closure of Discover Graphics and suggests possible future museum-school-community partnerships.

Centering on the work and reception of the composer John Cage, famous for his “indeteminant” works, Yoshihara Jirō and his “Circle works,” and the filmmaker Ozu Yasujirō’s Tokyo Story, this chapter examines the twining postwar rhetorical patterns of Zen influence, Zen inherence, and Zen denial as they inform interpretation of works of postwar art produced by artists in the West and Japan. Contrary to certain practitioner narratives, at times beguiled by hagiography and inclined towards grand narratives, the chapter suggests a grittier sensibility that reflects the rhetorical tussles that emerged contemporaneously and have since continued. Doing so, it points again to the multifarious nature of Zen in the postwar period, including those forms espoused by the avant-garde and its advocates, as well as the parallax effect of affirmative orientalist reception in the West of Japanese artists—praised when their work looked Zen, otherwise dismissed as derivative of New York School artists.

Increasingly, the notion of manager is confronted with that of leader. The literature written on this subject is considerable (John P. Kotter and Abraham Zaleznik being only two of the sound names that can be mentioned in this endeavor). Zaleznik proposed that managers were results driven and leaders were creative artists. Kotter proposed that leaders navigated change and managers navigated complexity. John P. Kotter says that today's managers need to know how to lead, be managers and leaders. The differences are: 1. Management is more formal and scientific than leadership. Management is an explicit set of tools and techniques, based on reason and testing, that can be used in a variety of situations; 2. Leadership involves having a vision of where the organization should go; 3. Leadership demands cooperation, teamwork. Researcher Warren Bennis said, “Managers are people who do things right, and leaders are people who do right things.” Organizations need both. So what does leader mean, what does manager mean? Why are these concepts being put so often face to face? A management specialist, P. Drucker (1954) draws a first distinction: management means doing the right thing, and leadership means doing the right thing. Such an opinion is continued by S. R. Covey (1990): "management is efficient in ascending on the scale of success, and management determines whether the ladder is placed on the right wall". In other words, the manager manages, organizes, the leader has a vision. Such a direction of analysis is illustratively supported by the metaphor of the road through the jungle: in organizing and conducting this expedition - often similar to the activity of organizations to achieve the proposed objectives - the manager prepares the tools, distributes them to the participants, writes and debates procedural manuals, in time what the driver looks for the direction, the path, has a certain sense for finding the best way. Thus, while the manager generates orders, organization, the leader creates and causes change, draws directions not only objectives, sets directions not only agendas, seeks new resources does not rationally allocate only existing ones. Assuring quality management inevitably brings multiple changes of substance and size in terms of philosophy and management practice at the level of the Romanian school. The concept of quality management necessarily includes the notion of leadership. The multiple researches carried out over time on quality management in education have consistently nominated among the factors that generate and feed this efficiency, the idea of leadership. Thus, the quality of leader of the manager is considered fundamental for ensuring quality management in the school, and the school is considered effective.

[This Proceedings paper was revised and published in the Interdisciplinary Journal of E-Skills and Lifelong Learning (IJELL)] Aim/Purpose: The teaching solution presented in this paper was implemented to overcome the common problems encountered by authors during years of practice of applied business studies teaching. Background: In our school, we have deep multicultural environments where both teachers and students are coming from different countries and cultures. The typical problems encountered with students include: not reading the case studies, language problems, different backgrounds and cultures, a different understanding of leadership in teamwork related to various management traditions, lack of student participation, and engagement in teamwork. Methodology: The above problems were solved on the basis of the novelty use of several tools usually used separately: a combination of case studies with visualization and current representation of knowledge related to the case study. The visualization context is provided by “rich picture” (as a part of SSM methodology) to create a shared understanding among students. Another ingredient of the proposed solution is based on Pacific storytelling tradition and the Pacific methodology of solving problems. Contribution: It was suggested the new delivery model strengthening advantages of case studies. Findings Studies and surveys made from 2009 to the present are promising. There is a visible improvement in students’ grades and observed changes in students’ behavior toward more active in-class participation. Recommendations for Practitioners: This paper focuses on implementation and technical aspects of the presented method. However, the application of the presented method needs robust and time-consuming preparation of the teacher before the class. Recommendation for Researchers: The current results show that the proposed method has the potential to improve students’ experience in applied business courses. The project is ongoing and will undergo progressive changes while collecting new experiences. The method may be applied to other types of courses. By focusing on the storytelling and rich picture, we avoid technological bias when we teach business problem-solving. We focus instead on teaching students the social-organizational interactions influencing the problem solution. Impact on Society Implementing of cultural sensitivity into the teaching process. Making teaching process more attractive for multicultural students. Future Research: Reducing teacher overload when using the method presented by the development of computerized tools. This is undergoing through utilizing Unreal Engine. Also, it is planned to enhance our team by artists and designers related to computer games.