ABSTRACT
This chapter examines how school partnerships with artists may be valued differently as a necessary interruption to the quest for what is good education within and beyond frameworks of the curriculum. It considers the roles that have been conventionally determined for artists working in schools. In the film, De Carvalho's persona and practice are explicitly in place, and reflect something of her own situating of herself and her practice in place. The relationality of the artist and her material practice to the human and non-human environment are central to the filmic framing of the value of her work. Gert Biesta's attention to the value of interruption is a reminder of the potency of present-time awareness and the sometimes bold disregard for convention required of the good educational encounter. As Robert Brown attests, there has been little research attention to the specific positioning and work processes of artists themselves in the programmes.
