IntroductionWe pass through the present with our eyes blindfolded. We are permitted merely to sense and guess at what we are actually experiencing. Only later when the cloth is untied can we glance at the past and find out what we have experienced and what meaning it has (Kundera, 1969/1999, p. 5).The significance of the events that we experience as teachers can often feel blurred within the whirlwind of immediate teaching and learning concerns. While we may feel the experiences are very meaningful, we may not feel well equipped to recognise and translate distinct meanings into words that we (or others) may carry forward. Following Milan Kundera's (1999) reflective tone, my latter career as an academic has prompted much retrospection towards my earlier career as a community arts practitioner. What was going on in those teaching moments, and why was it happening that way?While the intimidating wealth of scholarly theory has at times prompted me to disregard all of my prior experience and knowledge as banal, unoriginal, and uninformed, I have come to realise that such a disregard can be a disservice to academia. One of my academic quests has thus involved the use of autonarrative enquiry to explore the memories of community-based practitioners like myself to identify distinct principles and practices and theorise their relevance (see Rowe, Buck, & Martin, 2013; Rowe, Buck, & Shapiro-Phim, 2016). Within this article, I critically reflect on my experiences designing Our Kids' Teachers, a community arts teacher training programme within the West Bank and Gaza Strip during 2000-2005. More than simply a fond reminiscence of days in the field, my aim here is to reexamine the humanising pedagogy that underscored Our Kids' Teachers. In doing so, I hope to identify the project's theoretical significance and firmly position an emerging educational theory, threshold concept learning (Meyer & Land, 2005), within humanising pedagogies and community arts education. While research into threshold concept learning has predominantly focused on the curriculum design of formal tertiary education programmes (see Harlow, Peter, & McKim, 2014; Land et al., 2008), I argue here that it has both relevance and roots as a humanist pedagogy within nonformal community arts education.Nonformal education (the community-based learning that takes place outside formal primary, secondary, and tertiary education) is increasingly recognised as a crucial means of addressing 21st century social, economic, and environmental challenges (UNESCO, 2006, 2011, 2013). It is therefore imperative that the complexity of nonformal education is explored and its practices theorised. This in turn may allow associations between formal and nonformal educational philosophies to emerge and prompt practitioners, policy makers, and researchers to advance knowledge on education that is responsive to diverse cultural locations.Following an overview of the Our Kids' Teachers programme and threshold concept learning, I offer an analysis of how threshold concept learning aligns with Maria Del Carmen Salazar's (2013) articulation of humanising pedagogy. I then illustrate how threshold concepts were central to the Our Kids' Teachers programme. This contributes an alternate threshold concept narrative that might help connect histories of pedagogy in nonformal and formal learning spaces.It's All about Belonging: The Our Kids' Teachers ProgrammeThe Popular Art Centre (PAC), a Palestinian nongovernmental organisation, was established in Al-Bireh by local artists in 1987 with a mandate "to create a cultural environment that facilitates the building of a stronger connection between Palestinians and arts and culture" (Popular Art Centre, 2016, para. 1). In October 2000, in response to the intensification of Israeli military activity in the occupied Palestinian territories and the outbreak of the second intifada, PAC initiated the Our Kids programme. …

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门槛概念理论与非正规教育：巴勒斯坦社区的艺术学习

简介我们目不转睛地穿越了现在。我们仅被允许感知和猜测我们实际上正在经历什么。只有在解开衣服的那一刻之后，我们才能回头看看过去，了解我们所经历的经历以及它的意义（Kundera，1969/1999，p.5）。在立即的教与学关注的旋风中变得模糊。尽管我们可能觉得这些经历非常有意义，但我们可能不具备足够的能力来识别不同的含义并将其翻译成我们（或其他人）可能会继承的词语。遵循米兰·昆德拉（Milan Kundera，1999）的反省语气，我后来的大学生涯促使人们对我以前作为社区艺术从业者的职业进行了回顾。在那些教学时刻发生了什么，为什么如此之类的事？虽然令人生畏的学术理论财富有时促使我无视过往的一切经验和知识，例如平庸的，原始的和无知的，但我逐渐意识到，这种无视是一种伤害。去学术界。因此，我的一项学术探索涉及使用自动叙事探究来探索像我这样的以社区为基础的从业者的记忆，以找出独特的原则和实践并从理论上推论其相关性（参见Rowe，Buck，＆Martin，2013; Rowe，Buck，＆ Shapiro-Phim，2016年）。在本文中，我将重点回顾我在2000-2005年期间设计“儿童老师”的经验，这是西岸和加沙地带的社区艺术老师培训计划。不仅仅是在田间的美好时光，我的目的是重新审查强调我们的孩子们老师的人性化教学法。通过这样做，我希望确定该项目的理论意义，并在人性化的教学法和社区艺术教育中坚定地定位一种新兴的教育理论，门槛概念学习（Meyer＆Land，2005）。虽然对阈值概念学习的研究主要集中于正规高等教育课程的课程设计（请参阅Harlow，Peter和McKim，2014年； Land等人，2008年），但我在这里辩称，它既具有相关性，又具有作为人道主义者的根源。非正规教育（非正规小学，中学和高等教育之外的基于社区的学习）越来越被认为是解决21世纪社会，经济和环境挑战（教科文组织，2006年，2011年，2013年）。因此，必须探索非正规教育的复杂性并从理论上对实践进行理论化。反过来，这可能会使正规和非正规教育理念之间的联系出现，并促使从业者，政策制定者和研究人员促进针对不同文化背景的教育知识的发展。 ，我将分析阈值概念学习如何与玛丽亚·德尔·卡门·萨拉萨（Maria Del Carmen Salazar）（2013）对人性化教学法的阐述保持一致。然后，我说明阈值概念对于“我们的孩子的老师”计划至关重要。这为替代阈值概念的叙述做出了贡献，这可能有助于将非正式和正式学习空间中的教学法历史联系起来。关于财产的归属：我们的孩子们的教师计划巴勒斯坦非政府组织大众艺术中心（PAC）在Al-Bireh成立。由当地艺术家于1987年委托，其任务是“创造一种文化环境，促进在巴勒斯坦人与艺术和文化之间建立更牢固的联系”（大众艺术中心，2016年，第1段）。2000年10月，为响应以色列在被占领的巴勒斯坦领土上的军事活动的加强和第二次起义的爆发，PAC启动了“我们的孩子”计划。… 教师计划巴勒斯坦非政府组织大众艺术中心（PAC）由当地艺术家于1987年在Al-Bireh成立，其任务是“创造一种文化环境，以促进在巴勒斯坦人与艺术和文化之间建立更牢固的联系”（大众艺术中心，2016年，第1段）。2000年10月，为响应以色列在被占领的巴勒斯坦领土上的军事活动的加强和第二次起义的爆发，PAC启动了“我们的孩子”计划。… 教师计划巴勒斯坦非政府组织大众艺术中心（PAC）由当地艺术家于1987年在Al-Bireh成立，其任务是“创造一种文化环境，以促进在巴勒斯坦人与艺术和文化之间建立更牢固的联系”（大众艺术中心，2016年，第1段）。2000年10月，为响应以色列在被占领的巴勒斯坦领土上的军事活动的加强和第二次起义的爆发，PAC启动了“我们的孩子”计划。… 为响应以色列在被占领的巴勒斯坦领土上的军事活动的加剧和第二次起义的爆发，PAC启动了“我们的孩子”计划。… 为响应以色列在被占领的巴勒斯坦领土上的军事活动的加剧和第二次起义的爆发，PAC启动了“我们的孩子”计划。…