Considering The Resilient Voices Of Art Educators To Navigate, Disrupt And Re-Frame The Rough Terrain Of Education Policy.

Author(s):

Mark Selkrig(presenting / submitting)Christine Bottrell(presenting)

Conference:

ECER 2017

Network:

29. Research on Arts Education

Format:

Paper

Session Information

29 SES 07, Disrupting Arts Education

Research Workshop

Time:

2017-08-23

17:15-18:45

Room:

W2.06

Chair:

Catarina Almeida

Contribution

On a global scale evidence continues to mount about the benefits of the arts and arts-rich learning environments for young people and the subsequent impact in the general field of education (Bamford & Wimmer, 2012; Caldwell & Vaughan, 2012; UNESCO, 2006). These benefits and impact are also re-interpreted in policy, (EDUCULT - Institute for Cultural Policy & Cultural Management, 2013; European Commission, 2009; Taggart, Whitby, & Sharp, 2004) with governments subsequently stating the importance of the arts in education and for instance, the desire for ‘more students to excel in the arts’ (Department of Education and Training, 2015, p. 11).

Despite the rhetoric, art education in formal school settings has endured a number of tensions and pressures over the last few decades. The creep of what Sahlberg (2012, April 2) refers to as the global education reform movement (GERM) with an ensuing focus on standards, outcomes-based learning, high stakes testing and a ‘back to basics’ mandate has resulted in the decline of art education provision in some school settings (Robinson, 2015). The International Society for Education Through Art (InSEA) (2015) argues that the current trends in educational policies contribute to fragmentation of learning and the privileging of technology and sciences to the detriment of the arts and humanities. In addition to concerns about confidence and competence to teach the arts, teachers already working in schools, or those about to commence their careers as educators, have expressed alarm about the diminishing time allocated in schools for teaching arts and creativity (Bakhshi, 2015; Cachia & Ferrari, 2010; European Commission, 2009; Lemon & Garvis, 2013; Russell-Bowie, 2013). In this unstable and complex environment discussion has also surfaced about what constitutes excellence, effective, authentic and quality arts education (Bamford, 2006; Seidel, Tishman, Winner, Hetland, & Palmer, 2009).

The aim of this inquiry was to explore how the issues and complexities shaping the current education landscape, along with political, social, economic and global contexts affecting the broader field of education impact on those who work in the field of Art education across Australia.

In our study we utilize aspects of Wenger’s (1998) socio-cultural theoretical framework together with elements of Bourdieu’s (1993) theory of practice; habitus, field and capital. A particular focus was hearing how art educators respond or engage with these complexities and how related issues directly and indirectly impact on the work they do and shape the provision of quality (art) education.

The principal research questions that informed our online survey were

How do the identified global and local issues influencing education feature directly or indirectly in the work and practice of visual art educators?
In what ways do policy and other external agendas impact on quality visual art education?
How is quality visual art education articulated, supported and enacted within a climate of change and diminishing resources?

The description above outlines the rationale and the broad nature of this research project. Our presentation will concentrate on the findings related to the gaps between the current views of Visual Art educators and existing policy/ies around arts and education in Australia. As policy agendas and aspects of the education landscape in Australia are similar in many ways to Europe, the participants’ responses and the subsequent mapping exercise to identify gaps and successes in contemporary Australia art education, along with the suggested adjustments to policy levers and potential future actions are germane to education providers globally.

Method

This study is situated within a constructivist / interpretivist paradigm. We followed a mixed-methods Descriptive Approach with the intention to systematically provide a picture of ‘what is going on’ at a specific point in time regarding a particular issue (Baran, 2016). In this instance describing the contemporary understandings held by art educators in Australia of the complex issues affecting visual arts education. The data were gathered via an online survey (Qualtrics), involving Likert scale and yes-no responses, together with extended visual and verbal responses. One hundred 100 Art educators from across Australia responded. The research design involved the following phases: 1. Review of arts education research and literature, Australian and international. 2. Development & trial of the online survey with arts educators (not taking part in the study) in order to determine understanding and ease of use, refinement if required. Seek and gain ethics approval. 3. Identify and develop database of key art education organisations, institutions etc. Contact made to explain the purpose of the research and establish appropriate contact protocols. 4. Email invitation to organisations with request to circulate the survey via email to art educators they have contact with. A further email invitation sent after the first phase of data collection as a reminder and indication of continued possibility to participate as well share with colleagues. 5. Collation, Analysis and interpretation of survey data occurred. This included both text and visual images from public sources submitted as part of survey responses (e.g. from the web or from a publication/book/etc.) collated. As part of the research process participants are requested to provide details about the image source to enable accurate referencing of the image for the purpose of copyright. 6. Findings from the analysis to be used to generate research outputs: publications and conference proceedings (survey) as well as presentation of visual materials (e.g. exhibition, projection, visual message)

Expected Outcomes

Findings from this study detail voices of 100 educators involved with art education in Australia. Individual stories and images are highlighted, but consistent messages also make themselves heard. For some long term Art educators there is a sense of déjà vu around policy decisions and impact. In Australia, a ‘national curriculum’ has emerged, yet states and territories continue to follow tradition, sticking with past patterns. Similar to trends in other parts of the world, results of national and international ‘high-stakes testing’ are used to create league tables of schools and drive curriculum agendas. While these issues impact on the ways in which art educators work, the resilience, creativity and capacity of participants in this study reveals how they operate with diminished resourcing and contradictory policy, yet continue to aspire to shine a light on, and deliver quality education. Through connecting the geographically dispersed voices of art educators and interrogating the notion of quality art education we are able to examine existing policy and hypocrisy to disrupt and re-frame current dominate education discourse. Having started to link voices from across Australia—a large continent with a relatively small population—we deem it timely to also connect with those from other countries and continents to identify consistencies and detours that extend to the global map. This study provides important impetus for visual art educators, other educators and policy makers. The range of perspectives provides evidence which signposts how art educators have developed standpoints that inform their work as they navigate between what Ewing (2010, p. 5) describes as the ‘uneasy relationship between Arts and Education’ and the changing policy environment. Opening up spaces for art educators to contribute, describe, document and share has potential to impact positively on their ability to fully participate in the education of young people.

References

Bakhshi, H. (2015, February 16). Is art education running out of Steam? The Guardian. Retrieved from https://www.theguardian.com/culture-professionals-network/2016/feb/16/art-education-running-out-of-steam-teachers-art-design Bamford, A. (2006). The wow factor: Global research compendium on the impact of the arts in education. Berlin: Waxman Münster. Bamford, A., & Wimmer, M. (2012). The role of arts education in enhancing school attractiveness: A literature review Retrieved from http://www.kulturnibazar.si/data/upload/school_attractiveness_paper_final_website.pdf Baran, M. L. (2016). It is all in the design: Creating the foundations of a mixed methods research study. In M. L. Baran & J. E. Jones (Eds.), Mixed methods research for improved scientific study (pp. 66 - 78). Hershey: PA: IGI Global Bourdieu, P. (1993). The field of cultural production: Essays on art and literature. Oxford: Blackwell. Cachia, R., & Ferrari, A. (2010). Creativity in schools: A survey of teachers in Europe. Seville: European Commission. Caldwell, B., & Vaughan, T. (2012). Transforming education through the arts. New York: Routledge. EDUCULT - Institute for Cultural Policy & Cultural Management. (2013). Arts Education Monitoring System (AEMS). Final Report Vol. 2016. Retrieved from http://www.educult.at/wp-content/uploads/2011/09/FINAL-REPORT-AEMS-and-Annex.pdf European Commission. (2009). Arts and Cultural Education at School in Europe. Brussels: EACEA / Eurydice. Ewing, R. (2010). The arts and Australian education: Realising potential. Camberwell (Vic): Australian Council for Educational Research. International Society for Education Through Art (InSEA). (2015). The 2015 Lisbon letter for visual art education. Lisbon: InSEA. Lemon, N., & Garvis, S. (2013). What is the Role of the Arts in a Primary School?: An Investigation of Perceptions of Pre-Service Teachers in Australia. Australian Journal of Teacher Education, 38(9). Robinson, K. (2015). Creative schools. London: Penguin. Russell-Bowie, D. (2013). A tale of five countries: Background and confidence in preservice primary teachers in drama education across five countries. Australian Journal of Teacher Education, 38(7), 59 - 74. Sahlberg, P. (2012, April 2). Global Educational Reform Movement is here! [Web log post]. Retrieved from http://www.pasisahlberg.com/blog/?p=68 Seidel, S., Tishman, S., Winner, E., Hetland, L., & Palmer, P. (2009). The qualities of quality: Understanding excellence in arts education. Cambridge, Mass: Project Zero, Harvard Graduate School of Education. Taggart, G., Whitby, K., & Sharp, C. (2004). Curriculum and progression in the arts: An international study. Final report. London: Qualifications and Curriculum Authority. UNESCO. (2006). Road map for arts education: Building creative capacities for the 21st Century. Retrieved from http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf Wenger, E. (1998). Communities of practice: Learning, meaning, and identity. Cambridge UK: Cambridge University Press.

Author Information

Mark Selkrig (presenting / submitting)

Victoria University

College of Arts and Education

Melbourne

Christine Bottrell (presenting)

REDthreads research evaluation & development

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