9281_summaryreport

7/27/2019 9281_summaryreport

1/7

Ccg cc;ccg ag; gaad aDba Fa, Vv Ak, Gaa Pc, ad Babaa W


2/7

ConneCtinG CurriCulum; ConneCtinG leArninG; neGotiAtion AnD the Arts summAry 2

idct pjc cb fd cc ga ad a w gad ag

cx. i paca, cd gad q a cpad daa ad va a w

ag aa. i a xad wa wc cd, ac, ad wd c gagd a-

bad ga. m aa pacc fd a gd da cag a a

bg bad ac. t pjc p add kwdg gap.

K fdg The most commonly integrated curriculum areas were science, social studies, technology, and English with

daa ad va a.

Scaffolding children to take on increasing adult-like responsibilities encouraged childrens engagement,

av, ad cfdc w ak.

The introduction of well-timed tensions and challenges was necessary to sustain integration and to raise the

quality of childrens engagement and learning.

Key competencies were evident across all case studies and childrens exploration of values emerged as

p.

maj pca Integrating curriculum requires teacher exibility and negotiation of content and method.

Positioning children as competent and capable fosters their ownership of their learning. It also inuences the

a ac w ad ad p.

A crucial aspect of childrens learning is persistence and ownership gained from grappling with problems.

tac d cg pvca ad x.

The centrality of key competencies and values requires closer examination. It raises questions about what the

a cb ga ad wa a b a dcad, ca p.

t ac

Backgd

t pjc b p a pv tlri d (Art of the Matter, Fa, hd, Pc, a., 2006)

w gag cc bca a wa ac a a wc ac ad gfca

cag pacc. W Art of the Mattercd a, c c

pjc wa cc ga. i xad pc b wc ga cc w a

ba a gad cc; a , w a a gad w, ccd ,

ag aa.

The arts provide an ideal platform for integration, as a work of art reects the larger social and cultural milieu

of the artist (Eand, 2002). Integration of knowledge is maximised when cognizance is taken of how the arts

reect and inform society and culture. Indeed, culture becomes understandable when read through its arts

ad gg a a d b ca cad w cc a a vappg da

(Eand, 2002, p. 164).


3/7


While the arts are often used in integrated units of study (see, for example, Ewing & Simons, 2004; Fraser et

al., 2006; Gibson & Ewing, 2011; Jacobs, 2004; Chicago Arts Partnerships in Education, 2009), it is evident that

wa ac a d appac. s a-bad aa pacc a

into the good idea category rather than in the realm of research-based practice. Bolstad (2011) argued that

k ab w a ca b pad w cc aa wa a aw ac

cb w dcv c ad cpx ag pc (p. v).

nw Zaad ac av g pacd va , v ad pa ga, b qa c pacc va , a d b acd, ad av cv,

common sense rituals of practice (Nuthall, 2001) rather than on a research base. This project is timely as

ccd w a c cc (m edca, 2007) a v ac w ga dc-

making capacity when it comes to determining curriculum coverage, and greater exibility in terms of subject

pag. mv, cc dd dcac pcp c a g pp bg acv

vvd dca, akg cb c, ad akg pb ag. t

ga ag w cc ga.

The problem persists that we have little research that provides a basis for teachers practice in the eld of

ga, ad wa d x pvd c ad d a ca (a dcd b Ba, 2005;

Dwd, 2006; Fa, 2000). A Bg (2008) addd, cbg ag aa g a c a ppg wad d-cd ga, a pdaggca pacc

that underpin student-centred versions of curriculum integration are absent (p. 13). The role of the arts in

contributing to integration is also under-researched and often misinterpreted. Bolstad (2010) found that there

cdab ag ab need ac ac bw a ag ad kd

ag. mv, ppd a d ac a c w k cpc, ad

pcp nw Zaad cc, a dvpd ad g a.

rac q

i paca, pjc cd: cc cd ad ac ak bw a ad

learning areas; the inuence such connections have on their engagement and learning; and the opportunities

cd av ad dc-akg ad wp w gag cc. sca ccv

ca awk: pa kwdg a ccd cx a a ag ca

nature and reects the collaborative learning environments encouraged in most contemporary classrooms. It

also underlines that childrens learning is socially mediated with peers, teachers, and others within and beyond

c. Cc ga, gag cc, ad q ag pvd ca b wc

ca ccd ag b ackwdgd ad acd.

t pcfc q a a d a:

Wa cc a ad bw a ad cc aa (a) b cd ad (b) b ac?1.

What inuence does arts-based curriculum integration appear to have on engagement and learning (a) for2.cd ad (b) ac?

Wa pp a ad3. wp ad dc akg pag ad gag

cc?

hw d c gad pjc, dd a, a ax gag w 4.

c?


4/7


mdg ad aa

A d cd a w ac ad c, qaav appac w va. Qaav

ac ccd w a xpa a pb ad a dad dadg a ca p

(Cw, 2005). Qaav appac a ad ga ad bad pp. t a vv

participants experiences and feature a small number of individuals or sites. To address the above questions, a

ag dg a qd (Cw, 2005). sc a appac ab cc b ad

c daa a a aca bad ad w.

t pac pa d w g ac fv pa c. tw ac

were deputy principals, and one was without a class. Of the classroom teachers, two had Year 3 classes

ad fv ag ya 5/6 ca. A ac w xpcd pac w va p

pb w pcv c. A ad a pca a ad ga. t c

vad cp w g dc ad pda Paka (p 80 pc) v

ca ( a 50 d c gp).

Case studies of teachers existing practice, composed by the research team, were drawn from classroom

bva, vw, ag cva w cd, wk ap, caa , va dc

aa ad c wb a. t ca d w j ad bw vac ad ac pa ad d ba ac ac pa. t ac ac

cc ad a paca pa appcav q; a , dvpg apc a d ag

ad gag cd a-bad ga.

t paca d pd daa cc dg ac ac pa cdd:

observations of teachers focusing on teacher talk, teacherchild interaction patterns and teacherchild

ga g a ac bva ca ad g cd

observations of childrens interaction with each other, with their teacher, and with their activities during

collection of work samples (including literacy)

semi-structured interviews with teachers and wider school community members

learning conversations with children individually and in small groupsone of the university staff as regular

ac ad g ac--; a daa ag akg a w a c (ad

cd ad caa )

tracking engagement with an observational tool that was devised by the research team and enabled teachers

to tick and date evidence of childrens engagement in learning

interactive group activity: a diverse group of ve children sorting and categorising pictures and statements

d (ad cd ad caa ).

B dcv ad ddcv appac daa aa w d. i a ddcv a, ca ccv

ad pc, c a gag cc, w d a g wc vw adp daa. A dcv gdd appac wa a d a p xpcd

and the unpredictable, which is particularly important in research (Charmaz, 2005; Creswell, 2005). Initial line-

b- p cdg daa abd aa b b dcv gd p w akg

theoretical ights of fancy (Charmaz, 1995, p. 37). Grounded theory analysis assists with keeping researchers

pv wa g daa, c a ag a d v cc a-

bad gad ag. (A wg p pc dcv g daa

gg ad ac a p fdg).


5/7


maj pcat c ag q ga d wc ag aa a cpad w a gad

. t a a ag cc cvag cpdcv ad c q b

awd. i a, c ad dac dd a w c ac pjc. s

ac cd a bjc w b ag a paa dcp g. t

a q w ad w c dc a ad. i ccdc a daa ad va a

featured, given the backgrounds of the researchers and teachers in the project. Drawing upon ones strengths

pdagg gca. hwv, ac ad c c ad wa cc dc

cpa c gad . t d pac cg ag aa

g ad ad dawg a a q.

ma cd dad ab cc bg da ad ag aa w a gad

. A ad acv gp acv ( W, Fa, Ak, & Pc, p) pvdd a vc

for children to bring their understanding to the surface at a units end. This tool revealed much more than

childrens recall and recounting of events. It allowed social negotiation, idea connection, and the landing of

ppca g dpg . i a qd cd cpc ag

a gad da ag gp. sc a ac ad a pafor teachers as part of their assessment repertoire. It also reects the social constructivist frame of the study.

igad a ad va a dw c vv g d xp ad

pa w d k ad pp. i ca, a cd a c f wa caa

a a v a ad c v g a aa. lca a, pa,

ad c b cbd ad a a pd c c

gd. i a ca, p-akg wa ag b a pa a ad a pgap aacd

vv pa ad cagv w pacpad a fd p. t vv a pp ad

art professionals produced motivating homeschool partnerships that extended beyond the initial art projects.

Both examples provided ample evidence of childrens key competencies of participating and contributing at the

c ad c v.

t pg cd a capab ad cp a a a qa ag w a

gad cc. i ca appd w a ca dcad fca ad ( a

xp). W a daac wa d, cd pd wk a w c,

w, dg ad , w ag awa a wd ca (Ak, 2008;

Edmiston, 2003). The opportunity to operate as if and as is worlds simultaneously encourages childrens

av. W pg a a xp wa v ca a d a

daac , g a wa bvd a ca. i ac ca, cd w cadd ak

cag ad-k pb ad xpcd w w pb.

i daa, ac-- ad daac cv w d bg a d pb

ca c kg, ak advc, ac a a adc. t awa kd adc, w a fca a adc, ag a c pp ad a gav a

xc va cag qa. t wa a vd w va a gad .

W ac ad ac pd v a cd, wa d a

ag xpc. F xap, dag w cd w ac k w a , c a

vc kg advc, aw cd advg ad a pdagg ad ag a a

cag wa ad d. sc a bf b ac ad ac w k

to probe childrens learning in ways that invite and position children as expert commentators on their worlds.

W w-d cag, gad d ca a v a acv a

may engage children but not extend their thinking. All teachers drew on real-life issues to provoke childrens

thinking. Some chose issues from immediate social reality (e.g., Fraser & Deane, 2010). Others, operating


6/7


through drama, presented real-life issues within a ctional frame. These grapplings sustained childrens

engagement, provided a sense of purpose, and raised the quality of thinking. The teachers ability to discern the

pb cag dp ag wa cca.

idcg ad cagg cd gapp w d kwdg a pva ad

p p ppcv. ma gad bacd cpx ca, ppca ad

pgca . opg pac cd gapp w bg c a a a

and their place in it required quality questioning and reection by both teachers and children.

rc

Ak, V. (2008). Pdaggca ag Ba ak bf g c daa ac: Wa ac ca a

Ba ab a, p ad pw w wkg . New Zealand Journal of Research in Performing Arts and Education: Nga

Mahi a Rehia, 1 http://www.drama.org.nz/?p=394

Beane, J. (2005).A reason to teach: Creating classrooms of dignity and hope. P, nh: ha.

Bolstad, R. (2011). The contributions of learning in the arts to educational, social and economic outcomes: Part 2: A literature synthesis .

rp m C ad hag, Wg, nw Zaad.

Bolstad, R. (2010). The contributions of learning in the arts to educational, social and economic outcomes: Part 1: A review of the literature .

rp m C ad hag, Wg, nw Zaad.

Bg, C. (2008). sd-cd cc ga ac: i wa wdg cd w c a pa ad

aag c?set: Research Information for Teachers, 3, 914.

Charmaz, K. (2005). Grounded theory in the 21st century: Applications for advancing social justice studies. In N. K. Denzin & Y. S. Lincoln

(ed.), The Sage handbook of qualitative research (3rd ed., pp. 507536). Thousand Oaks, CA: Sage.

Charmaz, K. (1995). Grounded theory. In J. A. Smith, R. Harre & L. V. Langenhove (Eds.), Rethinking methods in psychology(pp. 2749).

ld, egad: sag.

Chicago Arts Partnerships in Education. (2009). Research and evaluation series: Contributions to arts and learning. rvd p://

www.capwb.g/c.

Creswell, J. W. (2005). Educational research: Planning, conducting and evaluating quantitative and qualitative research (2d d.). upp

Saddle River, NJ: Pearson Education.

Dwd, t. (2006). Curriculum integration for early adolescent schooling in Aotearoa New Zealand: Worthy of serious trial? upbd

dca , ma uv, Pa n, nw Zaad.

Edmiston, B. (2003). Whats my position? Role, frame and positioning when using process drama. Research in Drama Education, 8(2),221230.

Eand, A. (2002).Art and cognition: Integrating the visual arts in the curriculum. nw yk, ny: tac Cg P.

Ewing, R., & Simons, J. (2004). Beyond the script: Drama in the classroom take two. nww, nsW, Aaa: PetA.

Fa, D. (2000). Cc ga: Wa ad .set: Research Information for Teachers,3, 3437.

Fraser, D., & Deane, P. (2010). Making a difference: Agents of change through curriculum integration. set: Research Information for

Teachers, 3, 1014.

Fa, D., hd, C., Pc, G., Bvg, F., Gb, G., Gda, t, s. (2006). The art of the matter. The development and

extension of ways of knowing in the arts. tacg ad lag rac iav Fa Pjc rp. Wg, nw Zaad:

nZCer.

Gibson, R., & Ewing, R. (2011). Transforming the curriculum through the arts. s yaa: Pagav macma.

Jacobs, H. H. (2004). Getting results with curriculum mapping. Axada, VA: AsCD.

m edca. (2007). The New Zealand curriculum. Wg, nw Zaad: lag mda.

Nuthall, G. (2001, December). The cultural myths and realities of teaching and learning. Pap pd a nw Zaad Aca

rac edca, Ccc, nw Zaad.

W, B., Fa, D., Ak, V., & Pc, G. ( p). iacv gp acv. A ca dad pg a pv pac

ca ac. International Journal of Qualitative Studies in Education.


7/7


Pjc a

Dba Fa, Vv Ak, Gaa Pc, ad Babaa W: uv Waka ac

eca P, P Da, nck K, Ga Gb, l twd, Wakag taaga, C Kapp,

ad mc Pak: tac

Pjc cac

Associate Professor Deborah Fraser

Dpa ha Dvp & Cg

Fac edca

t uv Waka

Private Bag 3105

Hamilton 3240

Email: [email protected]

Ph 838 4466 x7726

9281_summaryreport

Documents