"To me the arts, was just like a, a filler. Something just for the kids to do that is fun for them, that wouldn’t really tie into anything else cause [pause] my experience with the arts never tied into anything else."
-Research participant during our interview
The examiners found some problems within this chapter and when I read back through this chapter after reading their feedback, they were rather obvious problems as well. There were also a few rather silly typographical errors which somehow neither I nor Mrs C21 managed to pickup in our proof-reading.
If you missed Chapter One, you can find it here.
Chapter II – Methodology
The underlying purpose of this research project is to examine and understand the discourses that constitute the taken-up positions of pre-service teachers at the end of their ITE programs in relation to art education, and to then identify and understand the perceived barriers limiting the implementation of the arts in pedagogical practice. Focusing on the subject positions of three final (fourth) year pre-service teachers who had all completed their ITE program coursework, and had only to undertake their final ten-week long practicum prior to completing their ITE program, this research was conducted utilising a post-structuralist lens to deconstruct and understand the discourses underlying the positions taken-up by the participants in relation to art education, and the resulting barriers as perceived by the participants, impacting on their implementation of the arts in their pedagogical practice.
The use of qualitative research techniques allows for engagement with the multi-layered lived experiences of the pre-service teachers’ ITE in order to clarify the experiences and the participant’s understandings (Polkinghorne, 2005). A post-structuralist perspective assisted in ascertaining the underlying discourses of the participants subject positioning about art education and deconstructing the barriers limiting the implementation of art education.
The use of qualitative research techniques allows for fluidity of direction in the data collection process, as participants’ responses may yield unexpected data that can drive new or different research directions, whilst also providing the opportunity to scrutinise the subject understandings of those discourses experienced by participants throughout the ITE program, and the specific contexts involved (Miles & Huberman 1984 as cited in Ramey-Gassert, Shroyer, & Staver, 1996). Participants were sourced through purposive sampling and engaged in semi-structured interviews, with the resulting data analysed through discourse analysis, assisted by positioning theory.
The research focus was on a particular set of relationships; the relationship between ITE programs and pre-service teachers’ subjectivities relating to art education, and the pre-service teachers’ subjectivities relating to art education and the implementation of the arts in their pedagogical practice. For this reason, research participants were recruited through purposive sampling of the 2014 fourth year Bachelor of Education (Primary) / Bachelor of Arts cohort form the University of Newcastle’s Central Coast campus. This cohort was selected due to ease of access by the student researcher.
Purposive sampling allowed for the selection of information rich cases on the basis of their possessing a particular characteristic typical of the population being studied (Punch, 2009), namely those pre-service teachers who have completed their coursework but have not joined the ranks of graduate teachers. The purpose of this study is not, however, to generalise the findings across the current cohort of final year pre-service teachers, but to ascertain and understand the subject positions of the participants and the barriers they perceive around implementing art education in order to gain a clearer understanding for the potential reasons for the divergence between understanding of the benefits of art education and the implementation of the arts in pedagogical practice.
The utilisation of in-depth semi-structured interviews allowed the participants to express their narratives about their subject positions (Punch, 2009; Tanggaard, 2009). The interviews were constructed through a pre-determined open-ended interview schedule to allow for a basic framework of the understanding of the experiences which shape the positions held by the participant to emerge. Those experiences were reinforced and the understandings deepened through the use of follow-up questions, which allowed for the pursuit of those experiences and narrative truths and understandings which appeared outside the scope of the original pre-devised schedule, or prompt questions (Punch, 2009). The use of open-ended questions is preferable to closed questions as it affords the participants the choice of how they answer (Marton, 1986 as cited in Huntly, 2008). The use of ‘’what’ as a question opener was utilised as this has been cited as facilitating a rich description by the participant of the core subject being studied Marton (1986 as cited by Huntly, 2008). The recorded interviews were transcribed solely by the student researcher, and transcriptions were sent to the participants, to provide an opportunity to conduct a member check.
This research examines the positions taken-up by the pre-service teacher participants about the arts in education. Through discourse analysis of the interview transcripts, I attempt to identify discourses which construct the subjectivities of pre-service teachers’ vis-à-vis art education and future use of the arts in their pedagogical practice. The reasons behind the participants’ subjectivities are examined through a post-structuralist lens.
Discourse analysis has been used within this research study as it is a research method understood to be multimodal, combining an array of analysis techniques including, in this context, theoretical, interpretive and critical (Krug & Cohen-Evron, 2000). I take the view that discourses are a productive force created through the amalgamation of ideology, linguistic practices and social relationships which constitute the taken-up position, and the means by which we make sense of the world around us (Davies, 2004; Ma, 2013). There are a multitude of discourses encountered daily, and it is not possible to take up all available discourses (Davies, 1990). Understanding that there are multiple discourses which are not all able to be taken-up allows for an understanding of our existence at the nexus of multiple discursive practices, which can be conceptualised as subject positioning (Davies, 2004). Our subject positioning is constituted through internally owned, or taken-up, discourses (Atkinson, 2004), which are, and do, change over time (Atkinson, 2004; Davies, 2004). This post-structuralist conceptualisation of subject positioning then allows for an ongoing cycle of making sense of, and continually updating, the competing and often contradictory discourses to which we are exposed (Atkinson, 2004; Beijaard et al., 2004; Davies, 1990, 1997).
My understanding of a post-structuralist lens is that it will facilitate and encourage the questioning of those understandings and beliefs which are treated as ‘taken-for-granted’ as it is understood that knowledge is understood subjectively, produced culturally and constructed contextually (Woolfolk & Margetts, 2010). A post-structuralist framework posits that there is no single truth or meaning, and thus will allow me to examine the different narratives (Guba & Lincoln, 1994; Posner, 2011), about how positions held, about the arts in education came to be taken-up, as expressed subjectively by the research participants.
Validity, in the context of a qualitative research project such as this one, is as has been broadly stated as being “…the isomorphism of findings with reality” (Denzin and Lincoln (Eds), 1994, p. 114 as cited in Punch, 2009, p. 315). In essence, qualitative validity is looking to ensure that the findings are commensurate with the data from which they were derived. To this end, a feature of qualitative research is the use of a technique known as ‘member checking’, which refers to the practice of checking with the subjects from whence the data came that they are in agreeance that; the initial data (in this research study the interview transcripts) are an accurate representation of the reality (in this research study, the interview), and that the final representation of themselves within the analysis and findings is consistent in relation to their subjective understanding of themselves (Punch, 2009).
Due to the qualitative, and human-based nature of this research project, that is the nature of the participants’ personal beliefs and experiences being examined, due consideration was given to the ethical factors that arose, including consent and confidentiality. Participants were informed in writing about the nature of the study, and participation was on a voluntary basis, with written, informed consent being sought prior to inclusion. Participants were advised, in writing on the consent form, and verbally prior to the commencement of their interview, that they were free to refuse to answer any question, or to terminate the interview at any time, without any reason and without fear of repercussion. To protect their privacy, research participants were asked to select pseudonyms for use during the interviews, with any identifying data being either omitted or altered. Audio recorded interviews and the transcripts thereof have, and will continue to be, held securely in accordance with the University of Newcastle’s Research Data and Materials Management Policy (University of Newcastle, 2008).
Participants were provided with an opportunity to conduct a member check, and accordingly were provided with a copy of the transcription of their interview for this purpose. This was done to afford participants an initial opportunity to review the interview and ensure that they are satisfied with how they and their views have been represented through the interview process (Punch, 2009). This process also provides an initial opportunity for participants to indicate that they wish for data from their interview, either in part or in whole, not to be used for the research project. Participants were also afforded an opportunity to conduct a final member check prior to the submission of this thesis, and were provided with a copy of the final dissertation for this purpose. This was done in order to provide a final chance for participants to ensure they were satisfied with how they have been represented and interpreted as part of the analysis process, and that they have been represented authentically.
It was not expected that research participants would experience stress, mental or emotional discomfort during the interview. Participants were be reminded at the commencement of the interview that they had the right to refuse to answer any question, or terminate the interview, at any time, without reason or negative consequences for their relationship with the researchers or the University of Newcastle.
Chapter Two outlined the methodology used within this research project, and the literature that supports the methodology’s use in relation to the research question. Chapter Three will communicate the subjectively understood answers to the research questions described within Chapters One and Two.