The Indigenized arts-based inquiry reported in this article addresses matters of equality in Finland’s extracurricular arts education system, as experienced by Indigenous Sami artists, arts educators, scholars, and community leaders. Challenging national narratives of cultural homogeneity and egalitarianism, this research identifies aspects of this publicly-funded arts education system that function to create, or perpetuate inequality for Sami learners. Employing narrative and joik as analysis approaches, we reflect upon these processes of exclusion in order to envision new possibilities for this national arts education system to not only accommodate Sami learners, but to learn from and together with Indigenous arts, pedagogies, onto-epistemologies and ways of being to enhance equality for all.
{"title":"Sámi Re-Imaginings of Equality in/through Extracurricular Arts Education in Finland","authors":"A. Kallio, Hildá Länsman","doi":"10.18113/P8IJEA1907","DOIUrl":"https://doi.org/10.18113/P8IJEA1907","url":null,"abstract":"The Indigenized arts-based inquiry reported in this article addresses matters of equality in Finland’s extracurricular arts education system, as experienced by Indigenous Sami artists, arts educators, scholars, and community leaders. Challenging national narratives of cultural homogeneity and egalitarianism, this research identifies aspects of this publicly-funded arts education system that function to create, or perpetuate inequality for Sami learners. Employing narrative and joik as analysis approaches, we reflect upon these processes of exclusion in order to envision new possibilities for this national arts education system to not only accommodate Sami learners, but to learn from and together with Indigenous arts, pedagogies, onto-epistemologies and ways of being to enhance equality for all.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2018-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42924158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“Strange Fruit”, a song popularized by Billie Holiday in 1939, paints a gruesome picture of racial violence suffered by former African-American slaves following Reconstruction, 1863-1877 (Foner, 2011). While many scholars have analyzed the lyrics of “Strange Fruit”, research that focuses on young people’s reaction to the song is scarce. This study explores the impact of Holiday’s performance of the song on students at a New England Research University. Institutional survey software was used to create an online questionnaire that participants (n= 40) answered in a controlled environment. The findings indicate feelings of disgust, anger, shame and IJEA Vol. 19 No. 4 http://www.ijea.org/v19n4/ 2 sadness after participants listened to “Strange Fruit”. Although few students could indicate the song’s time-period, many recognized the atrocities committed against African-Americans since slavery and the discrimination that continues. “Strange Fruit”, irrespective of whether the participants knew the background of the song, provokes a powerful reaction against racial violence, one which demonstrates the song’s value as a cross-curricular pedagogical tool for developing transversal competences linked to socially desirable values and principles.
{"title":"Cross-Curricular Teaching Going Forward: A View from \"Strange Fruit\".","authors":"J. Esteve-Faubel, T. Martin, Ma Junda","doi":"10.18113/P8ijea1904","DOIUrl":"https://doi.org/10.18113/P8ijea1904","url":null,"abstract":"“Strange Fruit”, a song popularized by Billie Holiday in 1939, paints a gruesome picture of racial violence suffered by former African-American slaves following Reconstruction, 1863-1877 (Foner, 2011). While many scholars have analyzed the lyrics of “Strange Fruit”, research that focuses on young people’s reaction to the song is scarce. This study explores the impact of Holiday’s performance of the song on students at a New England Research University. Institutional survey software was used to create an online questionnaire that participants (n= 40) answered in a controlled environment. The findings indicate feelings of disgust, anger, shame and IJEA Vol. 19 No. 4 http://www.ijea.org/v19n4/ 2 sadness after participants listened to “Strange Fruit”. Although few students could indicate the song’s time-period, many recognized the atrocities committed against African-Americans since slavery and the discrimination that continues. “Strange Fruit”, irrespective of whether the participants knew the background of the song, provokes a powerful reaction against racial violence, one which demonstrates the song’s value as a cross-curricular pedagogical tool for developing transversal competences linked to socially desirable values and principles.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2018-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43934067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this study was to explore how meaning-making activity can be expressed and shaped in the crossover between drama in education and social media. This study concerns the use of empirical material from an educational drama project called #iLive, which was designed and implemented, on four different occasions with a total of 89 students from upper secondary schools in Norway in autumn 2015. The results indicated that operating in the crossover between drama and social media was a way of challenging the aesthetic qualities of drama in education. For instance, it was found that the way in which social media simultaneously frames several platforms for social interaction and blurs the boundaries between fiction and reality was different from working with fiction in relation to the teaching and learning of drama. Meaning-making processes in educational drama often tend to mediate through the vehicle of fiction by asking questions like what is the play really about? Such challenges, and the fresh IJEA Vol. 19 No. 1 http://www.ijea.org/v19n1/ 2 questions that were raised as part of the project, led me to the philosopher Jacques Rancière’s “aesthetic regime” (2004) and his notion of dissensus. In the analysis, I adapted his theory as a theoretical framework for the discussion of how social media can revitalise the teaching and learning of drama. Based on this, I suggest that meaning-making processes in the crossover between drama and social media can be described as transformative, in that they redistribute and re-negotiate fragments of fiction or reality, and involve border-crossing activities between the notions of art and non-art.
{"title":"Challenging Fiction: Exploring Meaning-Making Processes in the Crossover Between Social Media and Drama in Education","authors":"Kristian Nødtvedt Knudsen","doi":"10.18113/P8IJEA1901","DOIUrl":"https://doi.org/10.18113/P8IJEA1901","url":null,"abstract":"The aim of this study was to explore how meaning-making activity can be expressed and shaped in the crossover between drama in education and social media. This study concerns the use of empirical material from an educational drama project called #iLive, which was designed and implemented, on four different occasions with a total of 89 students from upper secondary schools in Norway in autumn 2015. The results indicated that operating in the crossover between drama and social media was a way of challenging the aesthetic qualities of drama in education. For instance, it was found that the way in which social media simultaneously frames several platforms for social interaction and blurs the boundaries between fiction and reality was different from working with fiction in relation to the teaching and learning of drama. Meaning-making processes in educational drama often tend to mediate through the vehicle of fiction by asking questions like what is the play really about? Such challenges, and the fresh IJEA Vol. 19 No. 1 http://www.ijea.org/v19n1/ 2 questions that were raised as part of the project, led me to the philosopher Jacques Rancière’s “aesthetic regime” (2004) and his notion of dissensus. In the analysis, I adapted his theory as a theoretical framework for the discussion of how social media can revitalise the teaching and learning of drama. Based on this, I suggest that meaning-making processes in the crossover between drama and social media can be described as transformative, in that they redistribute and re-negotiate fragments of fiction or reality, and involve border-crossing activities between the notions of art and non-art.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2018-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44893856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arts education in Western Australian primary schools consist of learning opportunities outlined by mandated curriculum. However, assumptions underlying this curriculum involving access, resources and support impact schools’ capacity to implement the curriculum without them being adequately addressed by the written curriculum. Drawing on the policy enactment theory of Ball, Maguire, and Braun (2012), four contextual variables (situated contexts, professional cultures, material contexts and external factors) are used to highlight the differences between the written published curriculum and the implemented, practised curriculum. Drawing on interviews with 24 participants across four schools issues of geographic location, use of arts specialists, appropriate learning spaces and the stresses associated with mandated literacy and numeracy testing are reported as contextual pressures by this study. This paper details the disruptive interference of these contextual pressures that we describe as ‘noise’. The provision of a better understanding of this contextual landscape brings schools and teachers away from the ‘noise’ of disruption and closer to curriculum harmony.
{"title":"\"Content without Context Is Noise\": Looking for Curriculum Harmony in Primary Arts Education in Western Australia.","authors":"S. Chapman, P. Wright, R. Pascoe","doi":"10.18113/P8IJEA1902","DOIUrl":"https://doi.org/10.18113/P8IJEA1902","url":null,"abstract":"Arts education in Western Australian primary schools consist of learning opportunities outlined by mandated curriculum. However, assumptions underlying this curriculum involving access, resources and support impact schools’ capacity to implement the curriculum without them being adequately addressed by the written curriculum. Drawing on the policy enactment theory of Ball, Maguire, and Braun (2012), four contextual variables (situated contexts, professional cultures, material contexts and external factors) are used to highlight the differences between the written published curriculum and the implemented, practised curriculum. Drawing on interviews with 24 participants across four schools issues of geographic location, use of arts specialists, appropriate learning spaces and the stresses associated with mandated literacy and numeracy testing are reported as contextual pressures by this study. This paper details the disruptive interference of these contextual pressures that we describe as ‘noise’. The provision of a better understanding of this contextual landscape brings schools and teachers away from the ‘noise’ of disruption and closer to curriculum harmony.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":" ","pages":""},"PeriodicalIF":0.6,"publicationDate":"2018-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43128933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This Article is brought to you for free and open access by the Teaching & Learning at ODU Digital Commons. It has been accepted for inclusion in Teaching & Learning Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact digitalcommons@odu.edu. Repository Citation Sunday, Kristine, "The Everydayness of Tina: An Introduction" (2018). Teaching & Learning Faculty Publications. 77. https://digitalcommons.odu.edu/teachinglearning_fac_pubs/77
{"title":"The Everydayness of Tina: An Introduction","authors":"Kristine E. Sunday","doi":"10.18113/P8IJEA19SI01","DOIUrl":"https://doi.org/10.18113/P8IJEA19SI01","url":null,"abstract":"This Article is brought to you for free and open access by the Teaching & Learning at ODU Digital Commons. It has been accepted for inclusion in Teaching & Learning Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact digitalcommons@odu.edu. Repository Citation Sunday, Kristine, \"The Everydayness of Tina: An Introduction\" (2018). Teaching & Learning Faculty Publications. 77. https://digitalcommons.odu.edu/teachinglearning_fac_pubs/77","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"19 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67682597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry and look towards the intergenerational narratives of my grandmother, mother, and I. Employing the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography and drawing upon works, which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal ghosts in IJEA Vol. 17 No. 30 http://www.ijea.org/v17n30/ 2 spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise. When I was a child, people often asked me if I was First Nation or “an Indian”. I suppose it was because my skin was darker. I practically lived outside. Sun drenched, my hair was long, going down to my elbows, at times. In response though, I always told them that there was no relation. When I was ten years old, a neighbour brought me to the Odawa Pow Wow. I remember dancing in the circle with everyone. I remember flowing bodies, the trees, the campsite around us, the feathers, the beading–the sense that people were coming together to experience this relationality as drumming and dancing filled the space with colour and movement. The circle was alive with the dynamic motion that everybody brought forth. I thought about the experience a lot afterwards, and grew up to have an expanding interest in Aboriginal knowledge and education. Then, in 2007 as I was making a film with my grandmother and mother, I learned that my grandmother’s grandfather was First Nation. I learned that my grandmother only found out when she was thirty years old, that the ancestry was silenced by the family. I knew a lot about First Nations history, the historical Cloutier: An A/r/tographic Inquiry 3 trauma that comes with it, but I was not prepared to be so close to that history. How was I to proceed? My great great grandfather was born of the Wolastoqiyik (Maliseet) Peoples. As an a/r/tographer (Irwin, 2004; Irwin & de Cosson, 2004; Springgay, Irwin, & Kind, 2005; Springgay, Irwin, Leggo, & Gouzouasis, 2008), I am struck by a destabilizing hauntology, a haunted (non)presence whereupon the past permeates the present (Derrida, 1994). Workingtowards breaking the silence through art, I consider what is outside language and objects to find that ghosts reside amongst spaces of liminality. Intergenerational narratives concerning a silenced First Nation ancestry are deconstructed within a continuum of time that connects the past with the present, and into the future. A silencing sti
{"title":"An A/r/tographic Inquiry of a Silenced First Nation Ancestry, Hauntology, G(hosts) and Art(works): An Exhibition Catalogue.","authors":"G. Cloutier","doi":"10.20381/ruor-6683","DOIUrl":"https://doi.org/10.20381/ruor-6683","url":null,"abstract":"As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry and look towards the intergenerational narratives of my grandmother, mother, and I. Employing the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography and drawing upon works, which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal ghosts in IJEA Vol. 17 No. 30 http://www.ijea.org/v17n30/ 2 spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise. When I was a child, people often asked me if I was First Nation or “an Indian”. I suppose it was because my skin was darker. I practically lived outside. Sun drenched, my hair was long, going down to my elbows, at times. In response though, I always told them that there was no relation. When I was ten years old, a neighbour brought me to the Odawa Pow Wow. I remember dancing in the circle with everyone. I remember flowing bodies, the trees, the campsite around us, the feathers, the beading–the sense that people were coming together to experience this relationality as drumming and dancing filled the space with colour and movement. The circle was alive with the dynamic motion that everybody brought forth. I thought about the experience a lot afterwards, and grew up to have an expanding interest in Aboriginal knowledge and education. Then, in 2007 as I was making a film with my grandmother and mother, I learned that my grandmother’s grandfather was First Nation. I learned that my grandmother only found out when she was thirty years old, that the ancestry was silenced by the family. I knew a lot about First Nations history, the historical Cloutier: An A/r/tographic Inquiry 3 trauma that comes with it, but I was not prepared to be so close to that history. How was I to proceed? My great great grandfather was born of the Wolastoqiyik (Maliseet) Peoples. As an a/r/tographer (Irwin, 2004; Irwin & de Cosson, 2004; Springgay, Irwin, & Kind, 2005; Springgay, Irwin, Leggo, & Gouzouasis, 2008), I am struck by a destabilizing hauntology, a haunted (non)presence whereupon the past permeates the present (Derrida, 1994). Workingtowards breaking the silence through art, I consider what is outside language and objects to find that ghosts reside amongst spaces of liminality. Intergenerational narratives concerning a silenced First Nation ancestry are deconstructed within a continuum of time that connects the past with the present, and into the future. A silencing sti","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"17 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2016-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68303170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Youth arts and humanities programs are providing invaluable learning opportunities for youth participants to become what we term “homegrown teaching artists.” After several years of artistic and pedagogic development, these alumni teach youth in the same programs where they were once participants. This phenomenon has emerged at the same time that the teaching artist field has become professionalized with new credentialed pathways through higher education. This simultaneity presents a paradox. Professionalization introduces formal standards and barriers to entry into the teaching artist field at the same time that teaching artists train youth who are racialized and lowIJEA Vol. 17 No. 10 http://www.ijea.org/v17n10/ 2 income to become teaching artists through informal pathways in youth arts and humanities programs. In other words, the professionalization of the field is at odds with its aspiration to expand and sustain youth’s right to cultural self-determination. We address this contradiction by investigating the pathways and practices of three homegrown teaching artists before turning to implications for policy and practice.
{"title":"The Future of Homegrown Teaching Artists? Negotiating Contradictions of Professionalization in the Youth Arts and Humanities Fields.","authors":"H. Winkler, Tyler Denmead","doi":"10.17863/CAM.20665","DOIUrl":"https://doi.org/10.17863/CAM.20665","url":null,"abstract":"Youth arts and humanities programs are providing invaluable learning opportunities for youth participants to become what we term “homegrown teaching artists.” After several years of artistic and pedagogic development, these alumni teach youth in the same programs where they were once participants. This phenomenon has emerged at the same time that the teaching artist field has become professionalized with new credentialed pathways through higher education. This simultaneity presents a paradox. Professionalization introduces formal standards and barriers to entry into the teaching artist field at the same time that teaching artists train youth who are racialized and lowIJEA Vol. 17 No. 10 http://www.ijea.org/v17n10/ 2 income to become teaching artists through informal pathways in youth arts and humanities programs. In other words, the professionalization of the field is at odds with its aspiration to expand and sustain youth’s right to cultural self-determination. We address this contradiction by investigating the pathways and practices of three homegrown teaching artists before turning to implications for policy and practice.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"17 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2016-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67572598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dialogue and democracy through museum education: A Review Essay","authors":"Tyler Denmead","doi":"10.17863/CAM.20667","DOIUrl":"https://doi.org/10.17863/CAM.20667","url":null,"abstract":"","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"15 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2014-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67572606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity, and the practical contributions of ethnomusicology to education and social life.
{"title":"What Are the Great Discoveries of Your Field","authors":"Bruno Nettl","doi":"10.4312/MZ.51.2.163-174","DOIUrl":"https://doi.org/10.4312/MZ.51.2.163-174","url":null,"abstract":"This is an attempt to sketch some of the principal discoveries or contributions of the field of ethnomusicology since 1885. These include consideration of the world of music as comprised of musics, the origin of music, universals, the study of music in culture, the relationship of composition and improvisation, the issue of authenticity, and the practical contributions of ethnomusicology to education and social life.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"14 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2013-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70585653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-02-06DOI: 10.4324/9781315095257-16
B. Leung, Chi Cheung Lawrence 梁志鏘 Leung
This study aims to examine how and why students transform in terms of learning motivation in learning the Cantonese opera with a teacher-artist partnership approach in Hong Kong schools. An artist and seven teachers from four schools collaborated to teach the genre for eight weeks. Students’ learning motivation changes in Cantonese opera was measured by a set of pre- and post-learning questionnaires. Qualitative data were drawn from class observations and focus group interviews with teachers and students. Results indicate that students’ motivation in learning the genre has been changed. The statistical analysis suggests that, while primary students had significantly increased their motivation in learning Cantonese opera, the secondary students’ motivation had not increased. Attributions include age differences, self-consciousness, intrinsic value and socio-cultural impact. However, the partnership was found to be an appropriate and effective approach in teaching the ethnic genre for its “role supplementation” between the teacher and the artist.
{"title":"Teacher-artist partnership in teaching Cantonese opera in Hong Kong schools: Student transformation","authors":"B. Leung, Chi Cheung Lawrence 梁志鏘 Leung","doi":"10.4324/9781315095257-16","DOIUrl":"https://doi.org/10.4324/9781315095257-16","url":null,"abstract":"This study aims to examine how and why students transform in terms of learning motivation in learning the Cantonese opera with a teacher-artist partnership approach in Hong Kong schools. An artist and seven teachers from four schools collaborated to teach the genre for eight weeks. Students’ learning motivation changes in Cantonese opera was measured by a set of pre- and post-learning questionnaires. Qualitative data were drawn from class observations and focus group interviews with teachers and students. Results indicate that students’ motivation in learning the genre has been changed. The statistical analysis suggests that, while primary students had significantly increased their motivation in learning Cantonese opera, the secondary students’ motivation had not increased. Attributions include age differences, self-consciousness, intrinsic value and socio-cultural impact. However, the partnership was found to be an appropriate and effective approach in teaching the ethnic genre for its “role supplementation” between the teacher and the artist.","PeriodicalId":44257,"journal":{"name":"International Journal of Education and the Arts","volume":"11 1","pages":"281-306"},"PeriodicalIF":0.6,"publicationDate":"2010-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70630017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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