Visual Art as a Vehicle for Educational Research

This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student‐centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text‐based form such as writing. The resulting images were discussed in a seminar and a sub‐group of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art‐based approach to educational research. As a result, I advocate in this article a greater use of arts‐based approaches to research which explores educational experience, not only in the arts, but in all areas of teaching and learning.     

Teachers' developing ‘practical theories’ of the contribution of information and communication technologies to subject teaching and learning: an analysis of cases from English secondary schools

This article examines teachers' ‘practical theories’ concerning the contribution of information and communications technology (ICT) to teaching and learning, as they are elaborated and refined in action. The study arose from a collaborative programme of 10 small‐scale projects through which participating teacher‐researchers aimed to develop a range of pedagogic strategies involving the use of computer‐based ICTs within their subject areas (Classics, English, Geography, History, Science and Design Technology). Within‐ and cross‐case analyses drew on multiple sources of data and characterised teachers' initial statements of practical theory in terms of five key themes: broadening classroom resources and reference; enhancing working processes and products; fostering more independent pupil activity; mediating subject thinking and learning; and improving pupil motivation towards lessons. Three cases are presented to illustrate how teachers developed their ideas in action, and issues that prompted teachers across cases to adapt their approaches are discussed.     

A Shared Place of Discovery and Creativity: Practices of Contemporary Art and Design Pedagogy

This article is based on a project that explored the practices of art and design beginning teachers (BTs) working with learners in a post‐age‐16 context. The aim of the project was to: explore contemporary art and design practices; explore the concept of artist teacher learner researcher; enable beginning teachers to collaborate with post‐age‐16 pupils and develop new approaches and strategies to art and design pedagogy. Through practices that blurred learner‐teacher identities a dialectical pedagogy emerged and a collaborative community of practice developed, all enabled through a renegotiation and reconceptualising of places of learning. The beginning teachers also started to construct their artist teacher identities, understand what it means to practise as an artist teacher in the classroom, understand the impact of these practices on teaching and learning and develop new learning and teaching methods. This project demonstrates the possibilities of these practices for contemporary art and design pedagogy and also how these practices can endure and be sustainable for this community of beginning teachers in the current cultural, social and political contexts of education.     

Editorial

Teacher research serves as an innovative redirection of the tradition of framing the education of teachers around curriculum policies. It recognizes and encourages teachers as agents of knowing and constructors of knowledge. It is inquiry‐based, frequently collaborative, and invariably generative of teachers’ craft knowledge. British Columbia is currently in the middle of a most ambitious revision of its education system. This system‐wide attempt at innovation has provided an enabling context within which teachers in the province could engage in classroom‐based research as they attempt to build a learner‐focused curriculum. This article describes the teacher research efforts that have been taking place in the province, and attempts to derive important implications for educational policy. Teacher research permitted teachers to honour the educative agenda of schools, suggesting that more, rather than less, structures like teacher research groups be provided for in the implementation of complex educational innovations, and recognizing that posing questions about teaching and learning represents the essence of being a professional educator. Teacher research groups also provided support, stability and challenge in a community of inquirers, suggesting that such structures are necessary for teachers to engage in continuous, public and systemic critique of proposed changes in school. Finally, teachers were enabled to clarify the principles of learning embedded in the new programmes, to distinguish between learner‐focused and learner‐directed teaching, and to address matters of substance rather than react to the change process.     

Teaching Now with the Living: A Dialogue with Teachers Investigating Contemporary Art Practices

The Education Departments of Tate Modern and Goldsmiths College collaborated with a group of teachers to find out what they understood by the term ‘contemporary art’ and to discover the conditions that enable contemporary art practices in the classroom. We explored questions with eleven teachers, from both primary and secondary schools, during the Autumn of 2004. Although the cultural/ethnic context of the schools the teachers worked within was diverse, they shared a commitment to working with contemporary art in the classroom and exploring new pedagogies in this field. Their engagement with contemporary art and their revealing and compelling experiences are documented, contextualized and summarized. Samples of the discussions form the substance of this article. This is preceded by an analysis of the success of socially‐orientated contemporary art in the wider global context and its contrast with the omission of these practices in many schools. Conclusions have been tentatively drawn about how the curriculum may be better served by the use of contemporary art, as well as the means by which new learning methods may be facilitated.     

Is It Always Worth the Trip? The contribution of museum and gallery educational programmes to classroom art education

Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.     

Making Creative Spaces: The Art and Design Classroom as a Site of Performativity

Rather than taking a transformational role in schools, new art and design teachers quickly become subject to ‘school art’ orthodoxy. Theories of subjectivity and the development of professional identity within communities of practice can feel far removed from the classroom. This article seeks to make clearer the processes by which teacher identity and practice becomes normalised and proposes ways that such processes may be resisted. With reference to Foucault, Lyotard, Bruner, Wenger and Bey, the classroom as a site of performativity is contrasted with alternative heterotopia‐like sites away from the spectre of observation, where different identities and behaviours can be explored. These temporary sites of difference are an antidote to the orthodoxy of the ‘school art’ condition and open up the possibility for teachers, both new and experienced, to implement a more hospitable, participatory pedagogy.     

A conversation of teachers: In search of professional identity

The authors describe teacher professional identity as lived experience in the context of educational change. Adopting activity theory and its genesis in cultural historical theory (Stetsenko &; Arievitch, 2004) as a framework, the article discusses the way teachers see themselves as professionals and how they compose their identities in schools, the educational space, which is their workplace. Activity theory is utilised as the broad theoretical lens and the design type and methodology are discussed accordingly. The school and the classroom are activity systems (Engeström, 1991), and social and semiotic ecosystems (Lemke, 1995). It is therefore in the tensions within the activity system that we capture and represent a constructed teacher conversation, composed of the voices of three social actors on an imaginary social stage, which is the empirical text of the article. Main findings speak to multiple roles, struggling voice and forging professional identity in the changing educational landscape.     

Encounters of the Traditional Kind: Reflections on the In‐Service Teacher Training of Traditional Filipino Arts

This article presents the second segment of a qualitative study on the integration of traditional arts in tertiary level art and design education in the Philippines. It is focused on the experience of artist‐teachers as participants in an in‐service teacher training programme that aimed to prepare the teachers for the trial integration of traditional Filipino arts in art and design courses. Taking the view of the participants, journals written by the artist‐teachers were sourced for their reflections about their encounter with traditional Filipino artists during field visits. This phase of the study takes the form of action research as it involves the participants in gathering data that could inform the methods and content of the learning of traditional Filipino arts in the schools of art and design. The findings reveal that artist‐teachers acknowledge the traditional artist as a valuable source of traditional knowledge and expertise. They also recognise their own essential role in the transmission of learning between the traditional artists and the students. The prerequisites of the course take the artist‐teachers beyond teaching in the classroom and extend their tasks to research.     

Research and development work: developing teachers as researchers or just teachers?

This article focuses on the theoretical frame of action research and the teacher as researcher, working through a Norwegian Research Council‐funded project in a school that explored learning strategies for pupils’ subject and social development. Action research is here called research and development (R&D) work as the term envisages that research and development are being conducted at the same time. Additionally, the term reflects the fact that the research is conducted within the framework of activity theory and Engeström’s expansive learning circle in which work is termed R&D. The article describes the possibilities and challenges for both teachers and researchers cooperating in R&D projects. Reflection on observed teaching are presented as a central activity in development work, covering the form and content of reflective dialogues; quotations from teachers are provided to show how the teachers experienced observation and reflection. The article discusses whether teachers become researchers, or whether they only develop in their role as teachers. The close cooperation between teachers and researchers in this work is also presented as a model for further education for teachers in‐service and for the training of teacher students.     

以互联网知识产品生产为导向的高校艺术理论课程教学模式改革研究

互联网发展与知识生产社会化正推动高等院校艺术理论课程教学改革。依托知识生产模式转型理论与联通主义学习论,以互联网知识产品生产为导向的艺术理论课程教学模式改革将教学过程划分为产品的设计、产品的样品制作与验证、产品的发布和产品使用效果反馈四个阶段。该模式将构建多位一体的课程资源体系,推动师生角色转变为知识生产的共同主体,出产形式丰富的教学成果,并形成多主体、多角度的教学评价体系,有助于提升学生的学习动力和知识的创新利用,实现艺术理论创意向产品转化,推进高校艺术理论知识生产向社会开放、与市场接轨,最终将艺术理论课堂打造成内外相互促进、持续更新的互联网知识产品生产动态系统。     

A Stitch in Time: Gender Issues Explored through Contemporary Textiles Practice in a Sixth Form College

This article discusses, contextualises and locates in contemporary theory, an autobiographical case study of an artist‐teacher in the ‘learning community’ of a Sixth Form College art department. It reflects on the educational potential of enabling teachers of art and their students to investigate issues of culture and identity through engaging with contemporary art practice. It seeks to explore the extent to which exposure to contemporary art practices (and in the second year sixth form, textiles‐based, cases discussed) creates a more conceptual approach to student project work, which can act as a catalyst to develop students' understanding of issues‐based practice. The discussion of the selected pieces is located within a feminist paradigm that foregrounds the body and gender theories. This article elucidates how a conceptual approach to working, as opposed to a more traditional skills‐based approach, can act as a vehicle for moving students towards becoming self‐motivated artists and, in the case studies described, take their practice beyond that which is normally achieved within the constraints of timed, exam‐based work.     

Bridge or Barrier? Writing in Secondary Art & Design Education in the UK

What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation.     

Art Education and the Visual Arts in Botswana

The history of art and design education in Botswana has evolved in a unique way and reflects its British colonial history and post‐independence development. It has involved constant exchange and dialogue with other countries through the employment of teachers, teacher trainers and university lecturers from a variety of European, Asian and other African countries. This dialogue has continued as locally trained art teachers pursue their degrees overseas and return with new ideas and influences. At the same time, the development of local crafts for a global market and the inter‐cultural exchange in the visual arts outside the formal education system are thriving with the help of various organisations and the museum and gallery sector. This article will look more closely at the country context, the history and development of art education and the interrelationships that have evolved over the last two decades. It will show how students engage with the challenge of integrating their African heritage and changing traditions with their development as teachers and artists. It will also consider how closer links between the formal and informal art sectors might be mutually beneficial and demonstrate the potential for art and design to play a role in the social, economic and cultural development of the country.     

How Student‐teachers Approach the Teaching of Reading: At the Interface Between Personal History,Theory and Practice

This article charts the progress of one cohort of student‐teachers (variously known as beginning teachers and pre‐service teachers) training to teach English in London secondary schools during 2008–9. The research focuses specifically on the experiences which facilitate their development as confident and creative teachers and assessors of reading at Key Stage 3 (11–14 years). Findings indicate that it is the interaction – and tensions – between their personal reading histories, engagement in theory, and practice within the social environment of the classroom which shape their burgeoning identities as teachers of literature and reading. This year‐long study demonstrates that for some a growing confidence has enabled them to look beyond approaches advocated by statutory curriculum frameworks to develop their own view of innovative practice in the teaching of reading.     

Identity Politics and the Queering of Art Education: Inclusion and the Confessional Route to Salvation

In this article I discuss the relationship between theories of identity and making practices in secondary art and design. Of particular interest is the way students are invited to explore identities in relation to a sense of self and the extent to which this is informed by schools' concern to make diversity visible through multicultural celebration, thus framing and possibly limiting exploration. It is notable that non‐heternormative sexual identities remain largely invisible in the official curriculum and I examine the disjunction between this absence and their hypervisibilty in the mass media and its culture of confession/exposure. I revisit Michel Foucault's discussion of the history of sexuality as a way to understand the development of confessional discourses in modern culture and to provide an alternative and ambivalent reading of the power relations implicit in work exploring identities by art and design students. Specifically, I look at the position of gay and lesbian students and teachers, and ask whether their sexuality can figure within the injunction ‘explore your identity’. Given the heteronormative culture of schooling, I end by recommending that individuals should be wary of outing themselves in the name of self‐expression but that art teachers could use strategies of distancing to engage students with issues of sexuality and join with others to counter homophobia by queering the curriculum.     

Exploring tensions in developing assessment for learning

This paper is based on a study of classroom practice of primary school teachers who were engaged in a programme of professional development to implement formative assessment in their classrooms. The programme sought to develop the skills and expertise of teachers to enable formative assessment to be used to support and improve the learning of students. This study examined changes in practice in these teachers’ classrooms, their students’ learning experiences, pedagogical decision‐making, and the challenges experienced by teachers and students in developing assessment for learning. Activity theory was used as an analytical tool and enabled the identification of important contradictions in the changing system that produced tensions and difficulties but also provided driving forces for change. The development of formative assessment practices was of necessity accompanied by a culture change in the complex classroom systems. For teachers change was characterised as a process of expansive learning that was motivated by a contradiction between the teachers’ beliefs about learning and the existing culture in the classroom. The change in classroom practice was enabled by the formative assessment philosophy and a range of mediating artefacts.     

Evaluating large‐scale interactive radio programmes

This article focuses on the challenges involved in conducting evaluations of interactive radio programmes in South Africa with large numbers of schools, teachers, and learners. It focuses on the role such large‐scale evaluation has played during the South African radio learning programme’s development stage, as well as during its subsequent sustained implementation phase. The model evolved for evaluation of interactive radio instruction is based within the context of a shoestring/real‐world evaluation tradition, where funding for internal evaluation has been limited over the period of the programme’s development to scale, necessitating focused use of resources in a longitudinal evaluation design. The evaluation approach is participatory and multimethod, linking the requirements of external summative evaluation conducted for accountability, with data yielded by internal (formative and developmental) evaluation. This is done through internal and formative evaluative studies of limited scope, combined with developmental classroom‐based evaluation based on the logic of project team members working with teachers to promote the programme’s self‐evaluative capacity.     

The Artist‐Teacher in the Classroom and Changes in the Teacher–Student Relationship,with Reference to the Issue of Censorship

This article examines a case study of an A‐Level student's work and how the inclusion and integration of my own practice as artist‐teacher into the classroom has changed the teacher‐student relationship, resulting in a more collaborative environment. It investigates how the mutual sharing of practice supports opportunities for pupils to discuss and investigate socially provocative issues and raises the issues of censorship. Through the case study the following questions will be addressed: how a collaborative classroom environment impacts on process and outcomes; the effect of discussing social/ political/ cultural issues within the art and design classroom; and the issues of censorship and ownership within the environment of a comprehensive secondary school context.