A broader, deeper, richer curriculum – add the arts and drama Dr Elizabeth Anderson Senior Lecturer Drama, School of Curriculum and Pedagogy, Faculty of Education and Social Work, The University of Auckland
Your editor approached me to write for your magazine, will to broaden and deepen the curriculum, then I hold that the suggesting that we in education may have come to a time when Arts and drama in particular can take up the challenge, and work we can look for ways to make our curriculum broader, deeper, to enliven, engage and deepen classroom learning. richer. I am an arts educator, and my immediate response was I argue here that the Arts can open three dimensions which ‘At last!’ We want the arts to be more central in the school will broaden and enrich learning- the relational, the conditional curriculum, because the Arts help children make sense of the and the creative. Working in the arts elicits embodied, aesthetic, world, communicate in different ways, value imagination and intuitive, and emotional responses, which give access to those be creative. dimensions. Working in the arts triggers something good for the I am in Initial Teacher Education, I am actively researching, brain, lets us tune into emerging ideas and switches on the art of and drama is my area of expertise- and noticing. You may raise objections (ie my leaning in this article is therefore Our curriculum was one of finding the time to fit it in . . . ) but the in that direction. Though I confess value of arts learning is increasingly to some caution about daring to the first to include four distinct supported by sound research. offer comment from an academic The arts – and drama especially disciplines, dance, drama, stance to no-nonsense principals, I – bring relational pedagogy to the do know from reports of responses music and the visual fore. In the arts, students work in at your conference to a speaker who a multitude of relationships – with advocated for the arts that you support arts, and since it is over a the teacher, with peers, with the the arts in education. I too hold that art medium, the topic. Working decade now since the Arts the Arts, and drama in particular, in the arts encourages speaking have a powerful pedagogy that holds Curriculum statement and listening, understanding and promise for learning opportunities interpreting others’ perspectives, and outcomes for all learners. I am was mandated, priorities have sharing and negotiating ideas, finding pleased to have the chance to offer my empathic responses and practising shifted . . . thoughts, and since I am committed to a collaborative way of working. the Arts learning area, I will propose A relational pedagogy attends to that the Arts may be well placed to enhance and reinvigorate the responses and feelings, makes connections with lives, and curriculum in the direction suggested. notices. The arts teach that paying attention to detail and to In this country our education system has long advocated significant ideas matters. Eisner (2002) writes of the lessons for the holistic, responsive, child centred curriculum the Arts that the wider practice of education can learn from the arts, embodies. Our curriculum was one of the first to include four and about how, when creating work, we work more with how distinct disciplines, dance, drama, music and the visual arts, things feel, we are attentive to nuance and detail, and we make and since it is over a decade now since the Arts Curriculum qualitative judgements. Most classroom language is necessarily statement was mandated, priorities have shifted, implementation instructional, factual, efficient, what Kahneman calls that ‘fast has reduced, and support systems have been curtailed. The new thinking,’ whereas his ‘slow’ thinking is of the nature of Eisner’s disciplines in particular, dance and drama, were never embedded description. strongly enough in teachers’ practice to survive and be sustained In the arts, learners can be helped to talk together and practise in regular classroom practice. Little wonder that with the huge thinking beyond the surface of the fast factual ‘what,’ to noticing pressures on schools and teachers in recent years, teachers the underlying ‘how,’ and perceiving the feelings that emerge. The have kept to the disciplines already in place or have resorted arts encourage making qualitative judgements – how an image to workable convenient solutions. Of course it is a crowded is constructed, a mood conveyed in movement, or emotion curriculum, but the entitlement that our curriculum promises conveyed through stance and tone – and that prompts deeper all students for learning in all four disciplines remains rare in thinking. Taking the opportunity to seize those emergent features world education systems, and it deserves strengthening. If there may take learning exploration in an entirely new direction. is an opening, if the door has slid ajar a little, and if there is the Alertness to the relational dimension with the content in the
arts implies responding flexibly, without being rigidly attached and the need to ask permission. They revealed a reflective to predefined aims. Changing direction can reveal many different responsibility for the natural world when hotseating Rata, asking, and new possibilities. ‘Would you carve birds into your canoe to thank them for helping And of all the arts disciplines, drama explores possibilities – the you?’ These students both showed a capacity for flexible and dimension of the conditional, ‘What if . . . ?’ thinking. Teaching imaginative reframing of their learning to come to a creative with an element of the conditional opens spaces and slows solution. I hold that the work in drama in both those classes had thinking and that may slow and deepen the curriculum. The enabled them to imagine, as Miller and Saxton (2011) put it, how conditional dimension wonders, considers options, looks to what the world might be otherwise. There is hope for the future in might be. We know that the world our students inherit will be these students. As educators, we need to bring our best known vastly different, and we realise that life is likely to become more affordances to broaden, deepen and enrich student learning, and chaotic, complex, contingent and dependent on context. We have the arts and drama have that capacity. tended to fondly assume that the next generation’s proficiency The creative dimension- the third dimension I propose with technology will prepare them, but they can be prepared in for the broadening of the curriculum- seems obvious but it the here and now to deal with uncertainty and risk. Education, does raise questions. Creativity has enjoyed a resurgence in as Dewey reminded us, is for living now, and drama, by working recent years and we have all seen eminent thinkers dispense in an ‘as if ’ setting, allows participants to try out possibilities with ties and stroll conference stages acclaiming the energies in a low risk situation then reflect on the ‘real world’ relevance that come from the social, economic and technological shifts for their own lives. Drama, through allowing a quality of the that drive the contemporary creative age. Their addresses conditional into the classroom, has two valuable applications. often proceed to lament the prevailing directions in school Role, first, takes another’s perspective systems and curricula as foils to that and looks at life from another point We need to look towards a creativity. Certainly there are tensions of view. Speculative thinking, the to be argued about the beliefs and second quality, imagines possibilities broader, deeper and assumptions surrounding notions and dreams for the future. Our of creativity. On one hand we know students will be even closer to the richer curriculum that through the creative dimension ‘wicked’ problems that face the world horizon – and flying a kite the arts encourage risk taking and right now, and speculative thinking, innovation without penalty, allow collaborative relationships and for creativity can give us mistake making and changes of creative conditional imagining will direction, and enable students to the vision. enrich their thinking. represent what they otherwise may The conditional dimension is a not articulate in ordinary language. special strength of drama, and is heard in its language – often On the other, we also maintain that all teaching should be the words ‘I wonder . . . ’ are a starting point for the story, or creative. But are we looking for teachers who teach creativity – or encourage an interpretation, or an alternative solution. Drama’s teach creatively – or foster creative learners? And what would pedagogy looks to what it means to be human, and will always it mean for schools if creativity were placed more centrally in have a human value at its heart. When they take on a role, the curriculum? students behave as if they were someone else, assuming a point We need to look towards a broader, deeper and richer of view that may be different from their own, finding themselves curriculum horizon – and flying a kite for creativity can give us in new relationships with people, and experiencing a new way the vision. In Wagenhofer’s 2013 film Alphabet, a teacher told of seeing. The trying out of role in the fictional setting involves of his image of, ‘kids like kites being held up by parents and no penalties, and the shift in understanding generates empathy. schools.’ If I take that metaphor further, the curriculum might The reflective phase of any drama takes on crucial importance be seen as the tether which can shift in tune with new models in a classroom, so that the teacher can ensure that the distance of learning and ability, and move with ideas about doing things of the drama is understood, and learnings brought back to make with knowledge rather than just mastering it. Rather than tugging connection with real lives. a kite line towards convergence and control, creativity and the Drama employs a fictional elsewhere and gives students arts are more likely to pull a curriculum towards flexibility and an opportunity for social dreaming. As part of my research I fluidity, an acceptance of more uncertainty and risk – but with worked with a teacher whose process drama used Shaun Tan’s that comes the lift of excitement that responds to the children’s The Rabbits over six sessions with her year six class to think direction, and the discovery of surprise. Arts educators believe in about colonisation. In interviews after the drama was completed, the capacity of the curriculum to encompass the creative thinking the students’ reflections were both interesting and socially and knowing that will take us into the twenty-first century. responsible. They grasped the notion of land occupation but Uncertainty and possibility and delight and alertness, as Aitken what was more interesting was the way in which they saw it in and O’Connor (2014) say, all need a place in the schools and terms of their own lives and their community right outside the classrooms we create. Last week I taught a drama block course windows of their school – as they energetically showed me. They to a group of 32 third year B Ed (Tchng) students finishing their showed the book’s illustrations of a ravaged landscape, and told degrees and ready to go out into your schools next year. They me about their community, the loss of green fields to housing are keen and they will be responsible and committed teachers. I developments, and the change to the world they had known as taught them in year one, and now, three years on, I see how far six year olds. their confidence, determination, and enthusiasm have grown. In another school, in a drama about Rata and the totara tree, Many of them have not had the chance to teach drama – yet seven year olds had absorbed values of respect for environment – maybe it couldn’t be fitted in, maybe it seemed risky. But
those 32 now know what they are doing, and are inspired and committed to using drama in their classrooms. They have plenty of trialled plans and resources, and are ready to put into action the relational, conditional, and creative dimensions of the way drama works. I hope they will get encouragement and support, and I am sure you will see results. The curriculum has the capacity for being opened and broadened, and if that door is now a little ajar and if a fresh breeze is rising, those teachers are ready to take up the challenge and make the curriculum broader, deeper, richer, more surprising. Go on – open the door – together we can promote a bit more surprise, and dreaming, and wondering, and creating in our classrooms. We can hold too to a whakatauki in that treasured orange statement from 2002, The Arts in the New Zealand Curriculum, Te toi whakairo, ka ihiihi, ka wehiwehi, ka aweawe te ao katoa. Artistic excellence makes the world sit up in wonder.
References Aitken, V., & O’Connor, P. (2014). Arts Education: Being Awake in the World. In A. M . St. George, S. Brown & J. O’Neill (Eds.), Facing the big questions in teaching; purpose, power and learning (pp.1118). Australia: Cengage. Eisner, E.W. (2002). What can education learn from the arts about the practice of education? In Journal of Curriculum and Supervision, 18(1), 4-17. Miller, C., & Saxton, J. (2011). ‘To see the world as if it were otherwise’: Brain research challenges the curriculum of ‘organised chunks’ NJ: Drama Australia Journal 35, 119 – 132. About the Author Dr Elizabeth Anderson Ed D is a Senior Lecturer in drama in the Faculty of Education and Social Work at the University of Auckland. Her doctorate in education researched the characteristics of effective drama teaching in primary school settings, a project that informs initial teacher education and professional development. Research interests are in drama education particularly, and in preservice teacher education, and curriculum. In the wider field of arts education, she is interested in creativity in teaching and in collaborative projects between Arts disciplines. Her work has included curriculum development, and resource and materials development for drama. At the time of the development of the Arts curriculum, she was a writer for the curriculum and worked as Implementation facilitator and resource developer.
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A Taonga for the Teaching Profession Frances Nelson
At the end of 2016, the (then) Education Council of Aotearoa NZ – Matatū Aotearoa, set up the Centre for Leadership Excellence. I was appointed to the role of Convenor of the centre and joined the team at the Education Council on a part-time basis in January 2017. As a leader in a positional role – Principal at Fairburn School in Otahuhu Auckland, the idea of being part of this work with the Council was irresistible. This leadership piece was initially envisaged as being for leaders in all roles and all settings. In the end, our work looked at leadership in a very broad and encompassing way and is now the leadership strategy for the profession, rather than just for those in specific roles or positions. It connects clearly to both the Code and Standards work that preceded it and its design acknowledges leadership in Treaty based multi-cultural Aotearoa NZ. Our Journey Whilst we started with enthusiasm and energy, our direction wasn’t initially, crystal clear, as we proceeded to engage with teachers, leaders and ‘experts’ in the leadership field. Our mission focussed on exploring Aotearoa NZ’s leadership challenges and identifying what role the Centre for Leadership Excellence could play that would make a difference to the work of teacher leaders and the learning of students. Over the passage of time, our work morphed in to the development of a Leadership Strategy for the teaching profession. We began with a ‘blank slate’ and a mandate to work with the education sector to see what we could bring to the fore. We initially anticipated this may be in identifying factors that would support leadership practice and enhance the work so many individual leaders do across the motu. It became clear as a result of hundreds of conversations with a wide range of teachers and other participants; that the missing piece was in fact a strategy inclusive of all roles and all settings. The central proposition for this piece of work emerged as ‘Every teacher, regardless of role or setting, should have the opportunity to develop their own leadership capability’ The focus for our work then became the ‘who’, ‘how’ and the ‘what’ we needed to include as part of such an ambitious strategy.
For the very first time, we have a Leadership Strategy developed for Early Childhood, Primary, Intermediate and Secondary Teachers. In fact – all teachers holding a current practising certificate. The Strategy includes both English and Māori medium settings as contexts for the work. It is a unifying document that serves to enable consistent understanding and opportunity across the education system – it has been described as a ‘Taonga for the profession’. The Process For the Strategy to be truly ‘by the profession, for the profession’, an inclusive and responsive process was used to enable many and varied voices to be heard and considered throughout the development phase. Our work programme involved rigorous engagement and follow-up that sought regular feed-in and feed-back from any and all sources. Researchers and academics both internationally and from NZ, interested/connected agencies, teaching professionals from across all sectors, students and young people were all invited to engage with the work. To ensure the ideas didn’t remain static and that rigorous debate sat around decisions and directions, a range of participants were invited to meet face to face, to critique the work and ideas as they evolved and to add to the narrative. Though it was hard work for busy people to keep up with the ideas and to contribute, we were buoyed by the active participation, given the importance of the work. From each engagement, an ‘Insights’ paper was developed and distributed so that an even wider group of educators could read and respond to the dialogue as we worked our way forward. Throughout 2017, as a profession we traversed the leadership literature, debated the proposals and sought consensus around emerging themes. Over time, the key themes developed into a comprehensive and uniquely Aotearoa NZ view of Leadership and, even more important, the bones of a strategy to enable our central proposition to develop and flourish. One thing we wanted to ensure, is that the work would champion Leadership as an opportunity to enhance our future as educators in a high performing system with learning at its heart. The consultative, open and transparent process was designed to follow the lead of the profession. It was very clear over time
and as a result of the many conversations, that the place of Māori and Te Tiriti were an important cornerstone of this work. This has been a strong driving focus during the development work. We also acknowledged the growing multi-cultural nature of NZ society as we worked. You will see a strong connection to culturally appropriate pedagogy in leadership learning as a strong feature of the strategy. Once we were ready to begin writing the Strategy document, a writing group was formed and tasked with pulling the ideas together and shaping the strategy. Whilst this group were supported by a small number of participants from the consultation process, their boundaries were to ensure nothing went in to the strategy that wasn’t already sitting within the ideas that had been socialised and consulted on. This meant that nothing new or unsupported would slip in to the document. The board members at the Education Council were our last point of critique. As the governance group, they too championed the voice of the profession within the strategy that is now in your hands. In a practical sense, the Leadership Strategy is designed to support the growth and development of leadership capability in our increasingly diverse multi-cultural society. It presents a clear vision for our uniquely Aotearoa NZ context and clarifies the leadership capabilities required and identified from our NZ evidence base. To support the NZ Leadership context, the Council contracted NZCER Researchers Cathy Wylie and Sheridan McKinley to develop a set of Capabilities for Leadership based on the input throughout the consultation period and supported by the literature review they had completed when updating the Teaching and School Practices Survey items. Many schools have used this tool for some time to ascertain what strengths and weaknesses their current processes have and where their next development steps lie. Four Focus Areas emerged from the discussion – Stewardship of Leadership Practice and Learning – Te Tiaki I Te Mahi Me Te Akoranga Kaihautū Teachers should be involved in decisions affecting their profession. Stewardship enables the profession to take ownership of the development of a theory of action to evaluate and drive the Leadership Strategy and its implementation over time. It is also an opportunity to identify what programmes and support materials may be needed and to guide and support professional development decisions. Capabilities of Leadership- Ngā Pūmanawa o Te Kaihautū Rather than being another layer of ‘standards’, making the important capabilities clear will enable us to develop and embed effective leadership practices across different spheres of the system. This is about acknowledging the importance of leadership practices right across the profession, whatever the role. The Capabilities are unique in that they describe leadership practices that work in NZ education settings – ECE, Primary, Secondary provision. The intention is that they will support learning and development for leaders at all levels.
Personalised Learning – Te Akoranga Ngaio Whakawhaiaro This focus acknowledges the importance of individual career pathways and personal learning as a teacher. This is seen as a shared responsibility between individual teachers and the ‘system’ in enabling everyone to learn and develop the skills and attributes required for the context in which they are working. In today’s digital world, there is a lot of opportunity to share, learn and collaborate in digital spaces as well as face-to-face. A rich provision of development options will enable teachers to participate at a time and place that meets their own needs and situations. Partnerships, Communities and Networks – Ngā Kōtuinga, Ngā Hapori Me, Ngā Whatunga The focus of this piece of work is to support the engagement of leaders in a range of collaborations and networks that enhance their work. In creating opportunities to work, learn and share with colleagues we can spread good practice and support the learning success of both ourselves and others. In fostering this notion, it aims to break down isolation and build strong relationships where collective work will lead to collective success for ourselves and our student learners. From my point of view, it was a privilege to meet so many colleagues across the motu who demonstrated time and time again, the passion and energy they bring to their schools and centres every day. We have all been enriched by your contributions and look forward to seeing you take this Strategy forward in your own work and settings. The Leadership Strategy was launched on 28th August 2018. Copies of the Strategy are available online. The Capabilities Framework will come to schools and centres early in Term 4. They are distributed this way to enable teachers to have their own personal copies. This fits with the notion of leadership being a partnership between individual leaders and the system they work within. In finishing, many teachers and leaders have asked whether the government of the day will also support this taonga – our Leadership Strategy. I would like to share this quote from the foreword of the document, it was also reiterated when the Honorable Chris Hipkins spoke at the launch of the documents. Hon Chris Hipkins (Leadership Strategy Foreword) ‘This Government is committed to supporting registered teachers in the development of their leadership capability, and in providing opportunities for them to continually grow in their roles. I am sure that the ground-breaking ideas and guidance presented in this Leadership Strategy will be an essential component of their success.’
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