Arts curriculum are better resourced and supported when the principal is focussed on the student experience

Lorenza, Linda

doi:10.1007/s41297-021-00139-3

Cited by 3 publications

(2 citation statements)

References 36 publications

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“…Drama teachers also have additional challenges to navigate as their discipline is often under-resourced in terms of facilities and technologies (Garvis & Pendergast, 2010; Lorenza, 2021; Thorkelsdóttir, 2020) and has a considerable extra-curricular component that is time-intensive and stressful (Gray & Lowe, 2019; Thorkelsdóttir, 2020). Particularly significant to this research is the complexity of teaching in an open space with limited resources and working with challenging students who do not wish to engage in drama lessons (Anderson & Donelan, 2009; Lambert et al, 2016; Lorenza, 2021). Therefore, the effective training of drama teachers who are prepared for the myriad of responsibilities they will manage and challenges they will face is essential.…”

Section: Introductionmentioning

confidence: 99%

Turning stage fright into stage might: Pre-service drama teachers developing ideas about pedagogy, authenticity and relationships

Gray

Egeberg

Green

2022

Australian Journal of Education

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The gap between theory and practice during initial teacher training has been an enduring topic of research due to its impact on teacher-readiness. Given the COVID-19 pandemic campus closures threatening to widen the gap, this research was a timely intervention aimed at connecting pre-service teachers to their professional network. Specifically, the project brought together pre-service drama teachers and in-service drama teachers (identified as positive mentors and practitioners) in two 90 minute online forums, to explore pedagogical perspectives and understandings. Semi-structured focus-group and individual interviews were held with 21 pre-service drama teachers. Data revealed that the lived experience shared by drama teachers assisted pre-service teachers translate theory into practice supporting the learning of their pedagogical craft, both instructionally and behaviourally. Furthermore, this collaboration appeared to enhance motivation, build connection to the drama education community and inspire pre-service students during a personally and professionally challenging time in their initial teacher training.

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Section: Introductionmentioning

confidence: 99%

Turning stage fright into stage might: Pre-service drama teachers developing ideas about pedagogy, authenticity and relationships

Gray

Egeberg

Green

2022

Australian Journal of Education

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“…As Robyn Ewing (2013) observes, it has a complicated storyline and means different things to different people. Linda Lorenza (2021) describes curriculum in more accessible terms, yet in doing so implicitly recognise the broadness of its use, by characterising it as what can be taught and to whom, when and how. Seddon (2001) adopts a more philosophical approach by arguing that it is cultural construction, one that invariably includes debates about core beliefs and values.…”

Section: Introductionmentioning

confidence: 99%

In their own voice: The role of the Shape of the Australian Curriculum: The Arts Paper Writers in ensuring equitable access to quality Arts education in Australia

et al. 2021

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This paper examines the personal and professional experiences of the five arts leaders who co-wrote the foundation document for Australia's first national curriculum in the Arts. Their personal and professional backgrounds, which were explored during in depth interviews, drove the complex collaborative process that informed the first iteration of the Australian Curriculum: The Arts. Though each couched their responses in the context of their background and arts discipline, they shared an awareness of the important role of the Arts in providing the analytical tools for children and young people to identify and subsequently challenge social injustice. The findings, which are presented as a group narrative using a Narrative Inquiry approach, reveal how the five arts leaders' individual lived experience, disciplinary experience and expertise, and commitment to collaborative leadership informed their approach. It was one driven by their shared belief that all Australian students, regardless of their background, are entitled to a quality arts education.

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Music in the Australian arts curriculum: social justice and student entitlement to learn in the arts

2021

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This paper explores the role of the Senior Project Officer: The Arts for the Australian Curriculum Assessment Reporting Authority (ACARA) in facilitating the writing of the foundation Shape of the Australian Curriculum: The Arts (2011) paper for the national curriculum, with a particular focus on the discipline area of music. The collaboration between the five arts specialists was underpinned by an acknowledgement that each Australian student was entitled to a high quality arts education involving each of the five arts forms of Dance, Drama, Media Arts, Music and Visual Arts. As it was for the other arts forms, the music curriculum needed to cater simultaneously for music specialists, primary generalist teachers, and secondary teachers across a variety of school contexts. This balancing act was further problematised by that fact that each of the States and Territories adhered to particular approaches to music education that were often incompatible. The researchers have used a Collaborative Autoethnography approach (CAE) to explore the Project Officer's experiences with the arts, particularly music at school, and her later involvement in the arts through her professional career with a focus on the role of the Senior Project Officer: The Arts. Four themes emerged from the CAE: the impact of schooling experiences; the importance of credibility in the arts; diversity in pedagogical approaches; and the accessibility of a high quality arts education. These themes highlighted the social justice principles of equity and accessibility which underpin the Australian Curriculum: The Arts.

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Arts curriculum are better resourced and supported when the principal is focussed on the student experience

Cited by 3 publications

References 36 publications

Turning stage fright into stage might: Pre-service drama teachers developing ideas about pedagogy, authenticity and relationships

Turning stage fright into stage might: Pre-service drama teachers developing ideas about pedagogy, authenticity and relationships

In their own voice: The role of the Shape of the Australian Curriculum: The Arts Paper Writers in ensuring equitable access to quality Arts education in Australia

Music in the Australian arts curriculum: social justice and student entitlement to learn in the arts

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