Towards the future: Teachers’ vision of professional development in the arts

Abstract

Teachers enrolled in a professional development program involving artists on site at cultural institutions participated in a study in which they expressed their views on upgrading in the arts. Findings indicate that they were influenced in their own schooling by passionate teachers who conveyed the importance of the arts. Their progress was impeded by a self-perception of their own limited artistic ability. Community experiences, such as private lessons and amateur productions, played a more significant role in their development. The ideal scenario for their personal and professional development in the arts is an environment where discipline-based and integrative curricular activities are offered, and both the creative process and the creative product are valued. Lack of personal expertise, limited professional development opportunities, and inadequate funding are obstacles that can be overcome by teacher commitment to upgrading in the arts, a range of arts courses offered by education faculties, and involvement by arts stakeholders in program design and delivery, respectively.

Confronting the challenge: The impact of whole-school primary music on generalist teachers’ motivation and engagement

“…This approach to improving provision can be contrasted with other schools from the wider sample, who had attempted to “buy in” specialist support in order to improve standards in the subject. Although research has shown such strategies offer great potential if productive partnerships develop (Andrews, 2016; Bremner, 2013; Jeanneret & Stevens-Ballenger, 2013; Luebke, 2013), the schools that had attempted this in the current study experienced considerable difficulties in sustaining any positive impact. In relation to their expectancy for success in their own teaching, for instance, the teachers observed the specialists deliver music in a way which they never imagined they could replicate.…”

“…Recent research has suggested that partnerships with specialist teachers represent a way of managing the issue, whereby an external champion or specialist could work alongside a school to support their delivery of music (Andrews, 2016; Jeanneret & Stevens-Ballenger, 2013; Luebke, 2013). The findings from this case study build upon this work by demonstrating the benefits of situating ownership of the programme with the teachers themselves, illustrating how this might be enacted in practice.…”

10 errores frecuentes al hablar de educación artística. Apuntes para fundamentar ideas y desestimar estereotipos

“…Desde hace años, algunas instituciones de educación artística tienen convenios con escuelas de primaria y secundaria (inspirándose en las magnet schools) para enviar profesorado artista a las aulas de primaria y secundaria, con el fin de motivar e inspirar procesos creativos y trabajar con el profesorado especialista y generalista de dichos centros. Dichas iniciativas suelen estar sujetas a la financiación de Ayuntamientos y hasta ahora cuentan con muy buenos resultados, participando centenares de estudiantes y un número elevado de artistas «residentes» (Andrews, 2016).…”

Teaching music in the early years in schools in challenging circumstances: developing student teacher competence and confidence through cycles of enactment

“…Over the past four decades, and particularly since the 1978 survey of primary education in England, carried out by HMIs of Schools, there has been much discussion about the teaching of music in primary schools, and the challenges it presents (HMI 1978;Mills 1989;Bresler 1993 andCollins 2014;). More than many other curriculum subjects, music is generally perceived by teachers and STs alike as one requiring 'special skills', such as being proficient at playing a musical instrument (HMI 1978;Mills 1991;Glover and Ward 1993;Stunell 2010;Andrews 2016). Evidence suggests that STs perceive, along with serving teachers, that there is a need to have formal training in order to teach music (Hennessy 2000;Wiggins and Wiggins 2008), and that musical ability is fixed, or only given to a chosen few (Hennessy 2000;Biasutti, Hennessy and Vugt-Jansen 2014).…”