Being the adult you needed as a kid: Why the AITSL standards are not the best fit for drama teachers

© 2019 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. The Australian Professional Standards for teachers attempts to regulate the profession and improve teacher quality. Yet the standardisation of teachers’ work has attracted criticism from researchers who assert that a “one size fits all” model for judging teacher quality fails to recognise the affective, enactive and relational aspects of teaching. Given the interactive and interpersonal nature of teaching drama, this concern has salience. Our research into the experiences of early-career drama teachers reveals the positive influence these teachers have on their students and in their schools. Of particular note, are the strong role models they have become through the development of authentic, professional relationships where students feel supported and empowered to explore their feelings, achieve academically and flourish as human beings. These relationships are co-constructed during extra-curricular activities, namely in production rehearsals, where together they work towards common goals. Our findings suggest a case can be made for re-evaluating the process of judging teachers against a standardised set of criteria that neglects to capture the nuances of drama education and the passion, commitment and relationality of early-career drama teachers

Performing ‘teacher’: Exploring early career teachers’ becomings, work identities and the [mis-]use of the professional standards in competitive educational assemblages

This paper explores the relationship between early career teachers’ (ECTs) work identities, neoliberal education assemblages, and mandated professional standards. The task of supporting and retaining beginning teachers has received considerable attention in recent years in the face of alarming rates of teacher attrition internationally. The study, undertaken in Western Australia, explores how ECTs construct identities in response to competitive educational discourses, high levels of individual stress, insecure employment, excessive work-loads and limited formal support. The Australian Professional Standards are an example of ‘organisational learning’ that aims to support ECTs. However, our research suggests that in practice a managerial ‘tick the box’ approach to addressing the Standards renders them ineffective. We consider how embodied teacher identities are moulded in neoliberal secondary schools through concepts of performativity. This paper concludes that the performing arts can offer creative, collaborative and impassioned approaches to encouraging authentic teacher identities to support and retain ECTs

“Learning the Ropes”: Pre-service Arts Teachers Navigating the Extracurricular Terrain

Arts teachers undertake a multitude of extracurricular activities. Yet, while these activities consume considerable time and require specific expertise, little attention is afforded to developing these skills and expertise during pre-service training. This article presents findings from a study into the value of a pre-service teacher production as a form of professional development, from both the technical and personal development perspectives. Thirty pre-service secondary Arts teachers participated in the production. Through focus-group interviews, participants indicated the benefits of building technical understanding as well as personal benefits of engaging in an ensemble experience. All spoke of the potential transferability of what they learned to their future teaching practice. Given that Arts teachers are expected to facilitate extracurricular activities as part of their professional work, this article advocates the importance of examining ways in which rich experiences such as the production examined here should be formally embedded into pre-service teacher training courses

I felt that I could be whatever I wanted : Pre-service drama teachers\u27 prior experiences and beliefs about teaching drama

Pre-service drama teachers enter teacher training with established ideas and beliefs about teaching. These beliefs, based on experience, are informed by many hours spent in schools, and the pedagogies – both effective and ineffective – utilised by their teachers. This research explores the influence of some of these prior experiences on pre-service drama teachers’ beliefs about teaching drama, this being important in the way that not only shapes their practicum experiences, but also what will then influence their own teaching of drama. Individual interviews with four pre-service drama teachers revealed the complexity and dynamics of these participants’ lived experience with narrative portraits constructed as part of the process of inquiry. This process not only built on the ways that knowledge is constructed, and the beliefs and values that underscore these, but also how these are shared and made known. Three key beliefs emerged. First, drama both provides and creates a sense of belonging: belonging being key for students and integral to the work of drama teachers. Second, drama education can promote self-discovery and personal development, having therefore the potential to transform lives. Third, effective drama teachers are valued as hardworking, highly skilled professionals dedicated to bringing out their students’ potential. This paper emphasises the importance for pre-service drama teachers to be aware of how their beliefs and subjectivities both influence their own experiences, and consequently have influence over the ways they work with students in the drama space

Fish out of water: Investigating the ‘readiness’ and proficiency of beginning drama teachers in Western Australian secondary schools

The Australian Professional Standards for Teachers (AITSL, 2011) stipulate that graduating teachers need to be classroom-ready and able to perform at a ‘graduate standard’. However, recent research indicates that nearly 50% of beginning teachers lack readiness, are overwhelmed with stress, and will leave the profession within five years. This paper seeks to elucidate this disconcerting reality by providing a nuanced focus on the experiences of beginning drama teachers. Findings indicate that while participants in this study began feeling confident and ready for teaching drama; they were largely unprepared for the unwritten requirements of the profession – namely, coping with systems, policies and bureaucracy - and extensive extracurricular responsibilities. This article posits several strategies for enabling beginning drama teachers to successfully ‘manage’ their induction into the profession, and ultimately achieve teacher identity salience

“I feel very fortunate to still be doing what I love”: Later career Performing Arts teachers still keen and committed

The problem of attrition among early-career teachers has generated a substantial body of research. However, less research has been devoted to later-career teachers who survive and thrive. This article explores the career experiences of four later-career performing arts teachers who remain keen and committed to teaching. Informed by seminal studies by Huberman (1989, 1993) and Day and Gu (2007, 2009) into teacher career trajectories, and using a phenomenological ‘lens’ of portraiture methodology, members of the research team undertook a series of in-depth interviews to gain insight into how these teachers maintain their positivity and commitment to teaching. Four key themes emerged: the fundamental influence of social networks, the ability to recognise and embrace one’s strengths, the importance of being adaptable in maintaining relevance and social responsibility, and understanding the difference one makes to the lives of students. Findings highlight the key mechanisms by which these later-career teachers rationalise and maintain their enthusiasm. Given they are not fixed, articulating these mechanisms as attributes to be encouraged, practiced, nurtured, and developed among all teachers may be the overall key finding of this study

Raising the Curtain: Investigating the Practicum Experiences of Pre-service Drama Teachers

The practicum is internationally recognised as a valuable component of teacher education. It is an opportunity for pre-service teachers to develop teaching skills in authentic ways and pursue professional inquiry into practice. While extensive research has been conducted into the practicum generally, little research focuses on the practicum experience for pre-service drama teachers. This article, investigates the preparation of drama teachers for the profession with a particular focus on the practicum component of pre-service education. Drawing on the experiences of 19 pre-service drama teachers from a Western Australian university, focus-groups were conducted in order to scope the key components of the enablers and constraints embedded in their practicum. Four key themes were identified: stress, self-efficacy, mentoring practices, and teaching craft. In addition, the dimensions of each theme in relation to the adequate preparation of drama teachers were further revealed. Particular to the research was the role played by the extra curricula demands associated with drama as a learning area, and the mismatch between participant’s experience of drama and the culture shock many experienced in contemporary times. The research further emphasised the highs and lows of practicum, illuminating conditions most conducive to a quality practicum where pre-service drama teachers are able to develop pedagogy and the self-efficacy necessary to be an effective drama teacher, and importantly, one who remains in the profession

Elemental analysis of Scottish populations of the ectoparasitic copepod Lepeophtheirus salmonis

Conventional nebulisation ICPMS (Inductively Coupled Plasma Mass Spectrometry), was used to determine the concentration of a broad range of elements in the salmon louse Lepeophtheirus salmonis. Lice samples were collected from Atlantic salmon in seven localities (4 fish farms and 3 wild salmon fisheries) on two separate sampling occasions and prepared for analysis. Sixty six elements were measured, 35 of these were found to be variable and were subjected to univariate and multivariate statistical analysis. The results of the single element comparisons showed that not all individual sites could be discriminated from each other. Sea lice collected from cultured salmonids could be discriminated from those on wild salmonids at the same site using the elements magnesium (less than 0.05%), vanadium (less than 0.01%) and uranium (less than 0.05%). Using discriminant analysis based on 28 elements, the separation of all sampled sea lice localities from each other was clear (100% correct classification) giving each an individual signature. Further analysis examined the effects of sequentially removing elements from the discrimination model in order to determine the minimum number of elements required to obtain satisfactory discrimination of populations. It was found that 16 elements could still provide 100% correct classification, whilst 12 elements still provided 97.30% correct classification. This pilot study has shown elemental analysis to be a potentially successful method for the discrimination of populations of L. salmonis, although the biological basis of the elemental signatures derived remains to be established

Observations of children with disability during arts-based multisensory story and rhyme activities: Is it all just chimes and perfumes?

It is generally acknowledged that alternative strategies are required to enable children with disability to access storytelling activities. In this study, we sought to analyse the benefits of one such strategy: an arts-based multisensory story and rhyme program delivered to children with Down syndrome and autism spectrum disorder. In order to determine the engagement and impact of the program on the participants, data were collected through a series of multisensory session observations, focus group interviews with parents of participants, and interviews with performing artists delivering the program. The findings of this study revealed multiple benefits of using sensory stimuli to engage children with disability in storytelling processes, including increased engagement, focus, and interaction with other children and family members. The performing artists used their knowledge and skills to create an engaging environment that was responsive to the children’s needs. It was observed that language development could be further enhanced by integrating written text into the performance and increasing the use of nonverbal communication methods. Further, the engagement of siblings without disability in this program suggested that it could be developed to be inclusive of children with and without disability