Re-play: Re-assessing the effectiveness of an arts partnership in teacher education

Andrews, Bernard W.

doi:10.1007/s11159-006-9003-2

Cited by 15 publications

(29 citation statements)

References 13 publications

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“…To substantiate analyses and epistemological stances, such combining of methods is supported in evaluation research (Creswell, 2002;Creswell & Plano Clark, 2011;Miles & Huberman, 1994;Patton, 1990). The principal investigator has previous experience undertaking research studies and publishing the findings using this methodology (e.g., Andrews, 2005Andrews, , 2006Andrews, , 2008aAndrews, , 2010.…”

Section: Methodsmentioning

confidence: 99%

“…When teachers and artists work together, students comprehend, retain and transfer more information and skills, and they are more likely to co-operate with their peers on learning tasks (Burnaford, Aprill, & Weiss, 2001;Damm, 2006;Upitis & Smithrim, 2003). Artist-teacher collaboration has been proven effective for improving teacher expertise and increasing their confidence and willingness to teach the arts in their own classrooms, both in teacher education (Addo, 2003;Andrews, 2006;Zwirn & Graham, 2005) and professional development (Andrews, 2010;Catterall & Waldorf, 1999;Naples, 2001;Upitis, 2005;Zwirn & Graham, 2005). Further, arts organizations can broaden their community base and improve the quality of arts instruction in their communities (Andrews, 2011;Arts Education Partnership, 2001;Brophy, 2011).…”

Section: Related Researchmentioning

confidence: 99%

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

Andrews

2016

International Journal of Music Education

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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.

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Section: Methodsmentioning

confidence: 99%

Section: Related Researchmentioning

confidence: 99%

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

Andrews

2016

International Journal of Music Education

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“…Standards have an uneasy relationship with the arts (Eisner 2000;Hanley 2003;Siegesmund 2002), but they are used nonetheless to facilitate program integration and support student learn-chools often cannot afford qualified arts teachers and are thus forced to share teachers across schools or require regular education teachers to teach the arts instead. S ist teachers responsible for instructing in these areas are also dissipating (Andrews 2006). Some state arts organizations try to help educate teachers in the arts through grant and mentorship programs to counterbalance this effect and the abundance of "cafeteria-type" training that is offered to aspiring art teachers in traditional colleges of education so they can pick and choose the art and culture programs in which to enroll (Andrews 2006;Blakeslee 2004;Chapman 1992;Eisner 2000).…”

Section: Partnershipsmentioning

confidence: 99%

“…S ist teachers responsible for instructing in these areas are also dissipating (Andrews 2006). Some state arts organizations try to help educate teachers in the arts through grant and mentorship programs to counterbalance this effect and the abundance of "cafeteria-type" training that is offered to aspiring art teachers in traditional colleges of education so they can pick and choose the art and culture programs in which to enroll (Andrews 2006;Blakeslee 2004;Chapman 1992;Eisner 2000).…”

Section: Partnershipsmentioning

confidence: 99%

Twilight in the Valley of the Sun: Nonprofit Arts and Culture Programs in Arizona's Public Schools Post—No Child Left Behind

Amrein‐Beardsley

2009

Arts Education Policy Review

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This study explores the presence and impact of nonprofit arts and culture programs in partnership with Arizona's public schools. Arts and culture offerings are limited by many facets of the educational system, including the No Child Left Behind Act (NCLB), as evidenced by researchers and participants' responses in this study. The author argues that arts and culture should not be permitted to disappear from schools. Community leaders and policymakers should continue to invest in the arts and culture educational programs offered by nonprofit organizations and, with public support, should enact sound public and educational policies to support arts and culture in communities and schools.

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“…It is a global phenomenon that many teachers are not adequately trained or qualified to teach the non-specialist arts of dance, drama, music and the visual arts. Moreover, without the competences to mediate teaching and learning in the Creative Arts, research has shown that teachers may teach only those sections of the curriculum that they understand or neglect to teach certain art forms (Andrews 2006;Figuerido 2004;Nompula 2012;Vermeulen 2009). In this exploratory case study, the researchers sought to overcome the shortcomings of the teachers' lack of training in the Creative Arts through the introduction of educational technology.…”

Section: Introductionmentioning

confidence: 99%

Changing teachers’ practice in the Creative Arts classroom: The case for educational technologies

Villiers

Sauls

2017

TDSA

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The study described in this essay explores the use of educational technology as a resource in the Creative Arts classroom. Many teachers are not qualified to teach Creative Arts. They then tend to rely on curriculum documents and textbooks to help guide their planning, teaching and assessment. Most of the teachers who participated in this case study were not specialists in any of the arts, and in the education district where this study took place, there was a lack of ongoing professional development for the Creative Arts. To enable the teachers from Grades R to 7 to mediate more meaningful classroom teaching and learning in the Creative Arts, the researchers introduced the teachers to technology as a means to facilitate learning and teaching.This study follows a phenomenological approach to explore the use of educational technology in the teaching of dance, drama and music, which are three of the art forms in the Creative Arts. The researchers describe the teachers’ perceptions and attitudes towards using technology in the classroom. Eight teachers participated in the study (seven female and one male), ranging in age from 22 to 41 years. There were three teachers from the Foundation Phase, three teachers from the Intermediate Phase and two teachers from the Senior Phase. Data were collected from (1) unstructured open-ended conversational interviews, (2) observations of the participants during contact time with learners and (3) audio-visual recordings of the teachers in the classroom.Findings from the study showed that after the 10-month intervention of using educational technology in the classroom, there was divergence in the teachers’ use of technology. The findings also suggest that classroom practice in dance, drama and music improved.

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Re-play: Re-assessing the effectiveness of an arts partnership in teacher education

Abstract: RE-PLAY

Cited by 15 publications

References 13 publications

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

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

Twilight in the Valley of the Sun: Nonprofit Arts and Culture Programs in Arizona's Public Schools Post—No Child Left Behind

Changing teachers’ practice in the Creative Arts classroom: The case for educational technologies

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