This article discusses the use of an activity theory system as an analytical tool within the school art and design classroom. It highlights reasons for its use and makes explicit its importance for investigations into teaching and learning. It proposes that through an activity theory system, teachers and researchers are enabled to reflect on the formation of thought and develop an understanding of pedagogy, where classroom roles, rules and participation are made visible. The article draws on primary research which explores the development of creativity within the English Key Stage 3 (age 11–14) art and design classroom. Illustrations are provided to show how through the use of an activity theory system a multi‐layered analysis took place. This generated reflection on relationships and structures within and surrounding the classroom, impinging creative activity. Through using the activity theory system teachers and researchers were enabled to observe the complexity of the classroom and question socio‐cultural‐political structures which empowered change.

is a senior lecturer in education, specialising in secondary school music education and initial teacher education. A former secondary school teacher and in-service teacher-educator, her research interests include secondary school curriculum, the relationship between creativity and assessment, and teacher identity.Dr Victoria Kinsella is senior research fellow in education researching arts education and creativity. She has worked on a number of creative arts research projects in various contexts including schools, prisons, galleries, arts centres and with educational agencies. Her research interests include creativity, partnership and assessment. Secondary school arts teachers' perceptions of their practice autonomy in New Zealand and England.New Zealand has its educational roots in 19 th and 20 th century British educational systems with close similarities between English and New Zealand secondary school education structures. In the last two decades, however, secondary school education in both countries has experienced multiple and sometimes radical reforms. Educational policy has diverged markedly at times. In this article, we present the findings of research into the professional autonomy of 15 secondary school music, art and drama teachers from England and New Zealand. The aim was to explore whether educational policy impacts arts teaching practice, and to what extent teachers in both countries believe themselves to be professionally autonomous. Findings suggest despite similarities between jurisdictions, England teachers report a highly performative regime that restricts, governs and isolates them and the subject in school. This contrasts a progressive, even permissive, professional environment where the New Zealand teachers believe their students' needs come first and feel primarily accountable to their local and disciplinary communities.

The Whole Class Ensemble Tuition (WCET) is a model of teaching and learning music which takes place in many English primary schools. It is a relative newcomer to music pedagogy in the primary school. In the groundbreaking study reported in this paper, two new models of teaching and learning music are proposed. These are (a) Music education starts with the instrument and (b) Music education takes place via the instrument. Conceptualised descriptions of classroom music pedagogies are not commonplace, and so this paper makes a significant contribution to the music education research literature by delineating, describing and labelling two of these with reference to the WCET programme. These distinctions are of international significance and are useful to describe differences between programmes, which constitutes a major contribution to music curricula discussions. The paper concludes that clarity on the purposes of teaching and learning is fundamental to effective musical pedagogy and that this is a matter that education systems worldwide should be considering.

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