Professional Documents
Culture Documents
Carrillo Baguley, 2011
Carrillo Baguley, 2011
Carrillo Baguley, 2011
Article history: Aquest article aims provide insights do journey of 2 artistes teachers que currently work a les arts educators
Received 13 August 2009 at la universitat level. Narrative inquiry has fet servir per discutir que les arts hagin informat de les identitats
Received in revised form i subsequent transició d'aquests rols. Les identitats d'artistes, artistas educadors i educadors són
5 juliol 2010 considerats en relació amb el que s'han informat i continuen amb l'informe d'aquest teaching. Unique
Accepted 8 July 2010
característiques de la seva feina a les arts són també explorades i proveeixen d'importants understandings
en relació amb les mentalitats i suport requerides per a educadores que treballen en aquest context.
Keywords:
Teacher identity
2010 Elsevier Ltd. All rights reserved.
Narrative inquiry
Arts education
Higher education
Secondary education
Praxis xoc
0742-051X/$ e see front matter 2010 Elsevier Ltd. All rights reserved.
doi:10.1016/j.tate.2010.07.003
Machine Translated by Google
Author's personal copy
a Diploma in Music Education (CAP),2 a compulsory postgraduate qualification a combinació d'experiències personals i socials, culturals i institucionals en el
requerit per any graduat wishing to teach in secondary school in Spain. Margaret món (Beijaard, Meijer, & Verloop, 2004; Nias, 1989; van den Berg, 2002).
received el Diploma in Visual Art el 1987 i el Graduat Diploma in Teaching
(Secondary) the following year. El 2005, a la feina de música teacher i a la Mishler (2000) and Feldman (1982) proposa que els artistes facin significant
Universitat de Barcelona, la Carmen accepta part-time posició com a secondary xallenges in forming professional i artística identitat en el seu ill-defined status in
music teacher in the same area. Margaret obtained employment as secondary art society. Les identitats dels artistes s'estableixen abans de la col·laboració de
teacher el 1989 in a regional primary to secondary school (grades 1e10). teachers, o bé prefereixen el carrer, artistes teachers. Success a les arts demands
extraordinaris nivells de commitment i resilience, i és aquest control per succeir
que és una integral part de les seves identitats.
After achieving a Masters Degree by Research a la Universitat Autònoma de
Barcelona (Spain) el 2007, Carmen va ser awarded a scholarship to complete el Així és el cas d'uns quants artists, no han estat més personals i financers
seu PhD at la same university. Aquesta posició inclou both teaching and research investiments en la recerca d'un nou artístic (Graham & Zwirn, 2010). However, a
responsibilities. finançar secure life in the arts és difficult per acollir i, as en el nostre cas, molts
Margaret continuà teaching until 1994 i es retornarà a l'universitat per a upgrade artists assumir les practiques amb teaching at schools (Daichendt, 2009; Hatfield,
d'un initial Diploma a Degree in Visual Art. Montana, & Deffenbaugh, 2006). Limiten focus en arts en la seva escola de treball
És un dels contractes d'escola teaching per tal d'aportar les seves studies amb que no s'instil en qualsevol dels seus confidence en la seva capacitat de funcionar
una universitat que s'hagi subsequentmente commenced les masters de gestió en l'school setting. Even en general level teacher education has descriut que
per a la recerca en la Universitat de Teens nologia (Austràlia). It was la culmination trainee teachers a les limitacions, rellevant teoretical i no relata el context de la
de fourteen iear career which had seen her employed as secondary art and classe (Brady, Segal, Bamford, & Deer, 1998). However, fins i tot tenen aquestes
primary specialist art teacher en range of rural and metropolitan schools. L'any concernències sobre els ensenyaments pedagogics proveïts en la seva educació,
2004 s'ha interposat intermitent per a la màxima posició com a Lecturer en Arts el contingut de les seves specific arts subjectes no posa insurmountable dificultats
Education a la Universitat de Tasmania que s'ha completat el seu PhD el 2007. per la nostra competència en les respectives arts formes.
Educació, Currículum i Pedagogi a la University of Southern Queensland
(Austràlia). Carmen va arribar a USQ a undertake a tres mesos de visi- tació
escolar secondment en orden a continuar treballant en el seu PhD i cada data per
proveir comparatives insights a la música educativa context entre Espanya i L'extent d'un nou coneixement basat en artistes satisfet per compensar per any
Austràlia. shortcomings als teachers, els quals al torn contribueixen a la nostra self-efficacy
als artistas teachers (Bandura, 1997).
Perquè et beguen teaching en schools and later at the university level, we
initially suffered from the 'imposter syndrome.' Aquest syndrome refereix a
“individuals' feelings que no són capaços o adequats als altres perceives o
Dona a múltiples transicions authors make a aquest paper per following terms avaluats en termes” (Brems, Baldwin, Davis, & Namyniuk, 1994, pp. 183e184).
will be used per identify different locations. Aquests exacer baten per un stereotype que ofereixen enfrontaments d'artistas
Artist descriu la nostra identity a concert pianist (Carmen) i exhibiting artist que són un reliable, emocionalment unstable i unable per expressar aquestes
(Margaret). Artist teacher refers to any teaching undertaken by researchers in the relacions coherentment. Hausman (1970) i Lansing (1976) proposen que els
school context with music and art students from years 1e12 (age range from 5 to artistas no són necessaris i effective als teachers, i fins a 1 de 1 de maig es
17 years). preparen els artistes que volen no fer-se a “gift to education” (Lansing, 1976 ).
Arts educators descriuen el rol de researchers currently engaged in at the Csikszentmihalyi (1996) va ser que artistes havien paradoxical qualities suxes
university level in relation to information, educating and preparing students to commitment to work on a problema per a estenent i intensa periode time, aflowed
teach the arts at the school level. Aquest rol també combina les àrees de recerca, by what appears to be long periods of idleness which are in reality important
recerca i servei a la comunitat. periods.
alleviate the initial insecurity felt by beginning university teacher. teachers i than from their standing als university professors with specialised
Although la nostra identitat és la música i l'artista que és important en el context academic skills”.
d'universitat, no és surprisingly, el nostre ensenyament teaching experiència que Labaree (2003, p. 13) conté que una de les xifres educatives realitzada per a
és un gran contributor al seu rol als arts educators. professors d'investigació en la universitat del sector és difícil de “ferning
educational practitioners in educational researchers.” Finding a balanç between
Even though we had substantially different lengths of time as teachers en the many rols that an academic undertakes can often result in research becoming
l'school system we approached la posició als arts educator at la universitat level a lesser priority due to competing demands (Robinson & McMillan, 2006).
with a degree of trepidation. Aquest àpats s'acosta a sense goig at securing what,
many school teachers perceive to be prestigious i exalted position with students Les multitud d'identitats d'Artist, d'Artist teacher and Arts Educator informen
que es perceived as wanting to learn. En la nostra investigació en la literatura another a les nostres experiències i share stories per a la seva investigació i
s'han limitat estudis que investiga el xalets fets per a professors d'escola teaching amb les nostres traineres teachers.
undertaking aquesta transició. It appears que moveixen a la seva història La importància de reflectir el teaching practice ha estat explorada per un nombre
educativa settings per a les noves acadèmiques s'often a stressful i difficult de researchers (Boyer, 1990; Freire, 1972; Schön, 1987; Weimer, 2006) i també
process (Acker & Feuerverger, 1997; Hatt, 1997; Murray, 2003; Murray & Male, un important element d'artístic practice.
2005; 97, Sinkinson, . However, aquest often appears to be related to lack of
teaching experience and preparation (Hativa, Barak, & Simhi, 2001; Kane,
Sandretto, & Heath, 2002; Zeichner, 2005). 4. Methods and techniques
We were surprised to find that in addition to their being a fer archy between
the curryculum areas in the school context, there also appeared to be privilegiing El critical event method s'utilitzarà en aquesta investigació en ordre per
of research over teaching at the university level. El tertiari sector generalment, i investigar els complexos challenges involucrats en el moviment de context
research-focused universities particular, és evident que és significant pressure d'escola teacher per començar a un nou universitat acadèmica a la escola
per publicar i desenvolupar outstanding career a researcher (Australian d'educació.
Government, 2008; Barlow & Antoniou, 2007;Worrall-Carter & ). Labaree (2003,
p. 13) suggests que aquesta percepció és partint basada en el fet que la “prestigi 4.1. Critical event
de facultats membres és les dels seus membres als membres de la professió i les
Per a aquest estudi és inicialment discussat, reflectit upon i wrote sobre les
nostres experiències en la universitat de professora i novícia
Machine Translated by Google
Author's personal copy
university arts educator. És felt que és important que proveeixi de detallar vista collected.” In this respect it does no provide results that produeix generalisable
sobre les estades del nostre teaching and academic career. Aquestes narratives 'truths' (Polkinghorne, 1988; Webster & Mertova, 2007). La dependability de la
són utilitzades per tres places com a narratives: temporalitat, socialitat i place data es refereix a la reliability del narratiu i s'aplica al paper d'aquesta manera de
(Clandinin & Connelly, 2000; Clandinin, Pushor, & Murray Orr, 2007). En relació fer transcripts (Polkinghorne, 1988; Webster & Mertova, 2007). Huberman's
amb les commonplaces de les narratives satisfan les proveïdes d'altres en plena (1995) proposa that elements d'access, honesty, verisimilitude, authenticity,
informació a un individu que tenen persones i esdeveniments refereixen a les familiarity, trans ferability and economy were the characteristics mostable per a
nostres narratives, s'afecten, a pastura, present i futura (temporality). We permetre assessment de la validitat i reliability narrativa research s'adapten a la
expressed the way we felt about particular events and also descriud the social seva.
context in which they occurred (sociality). L'actual place where the events succeed
was also incorporated to create the three dimensional view essential to narrative
inquiry which enabled us to comprehend how the impact of place affected our Readers tenen els seus grans accessos mitjançant narratives a criticacions
experiences (place). Aquesta és particularment important per al nostre diferent events en les nostres lives. Les transcripts de la narrativa han estat incloses en
social, cultural i language backgrounds. el paper per a proveir el reader per a les principals proves d'experiència en les
quals s'han basat les findings.
Honesty ha tingut lloc per respondre'ns a una altra narrativa per assecar-se en un
complexitat de la nostra identitat transició mitjançant una constant clarificació i
Aquestes field texts were then exchanged with one another. We questioned exploració de responses. La jornada de moure's de l'escola a la universitat context
and commented on each others' narratives prior to a face to face meeting during s'enfronten al conjunt d'un critical events en ordenar a la baixa verisimilitude.
which we sought to clarify, challenge and elaborate on what we had both written. Aquest aprenentatge té com a reader el recollit en el narratiu a plausible
Durant aquest procés s'han creat interim texts que són re-focused i re-wrote per experiència amb possible rellevància en el seu personal i professional journey.
a determinar quin particular critical esdeveniments s'ha produït durant la seva
escola teaching career, que precipitarà la decisió de moure's a la universitat
context i que contribueix a. El critical event, el qual could be either positive or Webster and Mertova (2007) revela que l' autèntic és often intertwined with
negative, el defineix les one which had challenged a persones “idealitzades verisimilitude. L'autènticitat d'aquesta investigació s'aconsegueix que les narratives
worldview with the reality of their experience” (Webster & Mertova, 2007, p. 75). siguin coherents i s'hagin dit que s'integrity mitjançant reflection en el sentit
After completing this process we met again to consider the interim texts with one d'events affected la seva respectiva re-posició d'identitat. Una família familiar amb
another and, du to our arts backgrounds useable to ask specific questions in order narratives enabled greater insights to be obtained.
to seek clarification and in process develop a greater understanding of our
narratives. After incorporating insights from aquesta discussió i exchange into Utilitzeu criticals esdeveniments com a enfocament d'aquest estudi també
another re-writing de les accounts we the sought ressonant threads which we contribuït a enverinar que aquesta és que no són 'taquen per fer-se' incidents
used as points of interest from els critical events. Les ressonants tretes formen la limitats o qüestionables significants. In aquesta studia transferability es proveïx
transició a la nostra finalització de text de text, que resulten in re-lived epiphanies mitjançant focus en similars critical events que provide enough detail i accessibility
que s'apliquen a la secció analysis d'aquest paper. per a reader a ordenar la facilitat a similar study en another setting. A l'eficient i
econòmic approach ha estat aplicat a aquesta investigació mitjançant reflection
on, i incorporació de, critical incidents a un narratiu sense compromisar la integritat
de la data o les findings.
transition from school teacher to arts educators in the university of enforced maturation, and the increased exposure to adult
context. company, mai have awakened a latent desire to teach. Though
Carmen did no make this connection herself, Margaret's interpretació
4.4. Critical event narratives i moving from artist teacher to arts seemed en fit the evidence, yet it did contradict el teatral tensió we
educator in the university context have both experiència als artists and teachers.
Durant les nostres discussions s'agreedeix que s'han experimentat
Carmen i Margaret posa en l'end de January shortly af Margaret paradoxes durant el creatiu freedom d'art i els perceptions que la
ha assumit el rol de Senior Lecturer en USQ. seva inherent lacció de disciplina en la seva followed such a path.
Margaret's initial reaction was not an academic, no even a Aquest perceived shortcoming was in torn són les antithesis of the
professional one. Les remembers reading el correu electrònic a expectations constraints i respon sibilities which characterise the
l'announce Carmen's arrival, i noten només que el seu nom 'Carrillo' teaching profession (Bennet, 1985; Hausman, 1970; Weber &
sounded very musical. When Margaret met Carmen she remembered Mitchell, 1995). Margaret recomanted how she had worked at school
thinking she appeared youthful, and possessed of a warm and friendly nature.
where the Principal explained to her, without any sense of irony
Carmen recalled meeting Margaret per a la first time when she was whatsoever, that the music teacher's erratic attendance and
preparing the tutorial room by hanging different artworks before her emotional outbursts were to be expected as they were part of her.
students arrived. Although Carmen és un music especialista i
Margaret és interessant en l'art visual, mentre que s'ha de treure a Inaddition to youthful artistics pursuits, we both followed
tot el món, especialment a passió per a la nostra recerca d'interès. reasonably similar progress through our initial University courses.
Els following tres muntanys es punctuated s animades i vibrants Llavors s'enrotlla el teaching qualification immediately a causa
converses, que ranged across our arts experiences. d'obtinguir les nostres arts degrees, a l'espècie de Carmen's sense
They were held in both of offices, i though we did not recognise it, vocació s'ha revertit en la seva narrativa que after completing mi
the differences in the way we spent our days came to symbolise the degree I was a little bit lost and I did it just to e. however, I felt the
conflicting pressures on new academic. Carmen està immersit en la necessity to explore other fields before settling in my professional
sol·licitud d'aquest estudi de PhD a la vila, mentre que Margaret's life. Margaret ha d'imbuir-se amb desig per mora pragmàtica
dies consisteix en hectòmetres de lectura teatres, acadèmics progressió per a no tenir el seu regional upbringing en el middle
meetings i research. Carmen was particularly keen to learn more class family in outback Queensland, per a Carmen's experiència
about different research methodologies and Margaret shared her seemed vastly more cosmopolitan. After leaving school Carmen ha
interest in narrative inquiry. Se subsequently decideix que gaudeixen portat a la nationally com a concert pianista, durant l'any sense la
de la commonalities d'una experiencia que ha de ser valuable per a Margaret felt era temperat per Carmen's observació que la seva vida
les xaletes i els esdeveniments que s'encounteren en les respectives no s'ha preparat per follar un reservedy. Aquesta acció és que no sé
jornades d'aprenentatge. myself estudi sobre el món i s'isolat del món per a la resta de la
meva vida. Being a musician is one of the loneliest careers that I
4.4.1. Hybrid identities know. Carmen revealed that she believed isolation was a common
In her forthright and passionate way, Carmen opened her narra feature among artists. Elliot (2006, p. 10) states that there is “for
tive with the statement that I have always wanted to be a teacher. many artists, a struggle between neiding isolation on 1 hand and
Margaret va ser impresat per la seva dedicació i sense vocació, però wanting to be part of a family on the other.” Aquests creats an
va a surprisingly confronting statement. Per Carmen's amazement, interesting situation per artistes teachers because as Springgay,
Margaret ha començat a fer teaching career i un she came to love i Irwin, and Kind (2008, p. 84) revela “learning environments seues
amb el dit pragmatic desire to fund her arts practice. A purpose classrooms and schools, reviewed as relational, interconnected,
many of her graduate students specialising in secondary art also interdependent living systems that. ” Margaret ha fet experiències
shared: One of the reasons I hi ha gone into a teaching degree is to sense isolació durant l'art maquinària quan s'ha requerit commitir
begin a career que builds upon i suports m'artístic needs (Baguley, substancial i concentrat períodes de temps en l'estudi, però durant
2005). Margaret was a very dedicated lecturer and Carmen how she el temps s'ha dismès i al personal experiència un relació amb
loved what she did. Les Margaret reflecteixen el seu narratiu que l'artística pràctica generalment. Per exemple, la botiga agreeda que
s'ha tornat a les seves publicacions al recull d'aquells anys en la el temps és per a la nostra forma que és essencial i és clearly area
Universitat Level: L'objectiu de treballar amb la universitat context de les àrees de recerca en el que algunes de les dificultats
als arts educadors a les educadores educadores són dream com encountered en artista / teacher paradigma que no és performatiu
true to me. I teach i secondary art pre-service teachers que és allow for rehearsal.
possible per a ser artist i good teacher. I encourage them a value
their skills and expertise and to provide a role model per their
students by allowing them see their work (Baguley, 2007). One de les mostes importants insights que emergeixen en les
L'origina de Carmen sense vocació no és cap a la decisió que converses són les que intuïtivament guarden la integritat de les
arriba a la persona adulta, per a la seva revealed que les noies nostres identitats identitàries, separa't les seves, o el que és, a les
s'allotgen teaching a les meves relatives and friends. It no s'ha nostres identitats. Scheib (2006, p. 6) descriu this as experiencing
revelat que existeix separat de les arts practices, per a les persones 'role conflict'. La botiga agreeja que la seva acceleració teaching
que s'han identificat com a musicalment talent child. training course és inadecuada i reflecteix el seu temps logical que la
Carmen està enrotllat a l'escola, la qual cosa permetrà fer-la bota relied altament exclusively on les arts training when amb fronted
especialitzada en aquesta àrea, fins i tot aquest came at personal with demands of the classroom. Afegeix que shared les traditional
cost permetre només sporadic contacte amb la seva família. It also beginning teacher horror stories i over-sized classes, students'
demanded other, more immediatament sacrifices. During lunchtimes disinterest a les arts i inappropriate teaching spaces and resources,
s'ha fet per practicar while her classmates were allowed outside to Carmen revealed, že to bolo mi no incapacitat per a mi mostres,
play. Perquè Margaret està explorant l'extent de la qual aquest règim attitude problemes també my incapacity to engage students in music.
creat sense cap mena d'oposició al nen oferint 'free time' Carmen Margaret ha fet feliç la seva manera que slowly dawned on her
replied que aquest no es crea any specific angst, però rather imbued during the first year of teaching that the thirty-two year 8 students in
her with sense of her own 'specialness.' It remained possible that this sense
her class were not as
Machine Translated by Google
Author's personal copy
passionate sobre el Bauhaus School and design elements and contextualitzi les nostres experiències en la seva objectiva fashion
principles as she was. Lacey (1977) descriu les processes que són quan s'ha recollit que els neophyte school teachers són atempting
destruïdes amb les 'internalised adjustment', a la durada de les per a assumir rols per a les quals no es poden preparar i durant el
quals s'han de fer teaters per fer diverses estratègies per a la seva temps subsequently experimentat “ pra02 s00 ; Mark, 1998).
idealització per a teaching mai no es pot produir en realitat.
En retrospecte la botiga recolliu que el nostre programari és
Carmen i Margaret també van a parlar de professors d'arts, justament com vital planificació, performing i consistentment avaluat
particularment amb una escola de treball, diferents considerables és el vostre change of achieving expected objectives and standards.
de teacher en una altra disciplina. Arts educators, duen a la Carmen va tocar la Margaret complexa situació a beginning teacher
especialització natural de les seves àrees, hi ha un interest a les seves narratives revealed I taught day to day as I was in
substancial i involuntament en les seves arts pràctiques per survival mode i no myšlens d'un overall program. His reflection
commencing undergraduate teacher training. Consequently, they reminded Carmen of the expression 'sink or swim' experimenten per
develop a strong identity as an artist which continues during their a music school teachers in their early (and difficult) years of teaching
(Ballantyne,
teacher training program. Artistes teachers are often hampered by a professional 2007, p. isolation.
and physical 182). Margaret shared with Carmen, que és
Aquestes són sovint les teachers en les àrees de subjecció i les una informal guidance d'una experiència més teacher, part through
classes de classe ofereixen físicament separades de la resta d'institució. her first year, which enabled her to learn how to formulate a year
Aquest sense isolació és una mena de felt a propensity per a l'escola plan by incorporation assessment tasks and the planning units
de gestió d'utilitzar les arts com a promoció de la promoció sense accordingly. Margaret's pre-service teaching course, which had
comprovement improvement en arts teachers' funding or time tabling seemed per all embracing at the time, proveït to be woefully inade
status. La demanda per a considerable commitment de scanty quate. It appears we both compensated per aquesta tenuous teacher
resources and classroom time for events such as open days, identity, partly formed during an intensive 12 month course
exhibitions and performances, exacerbates the divide between the withsubstancial time for reflection and evaluation, by relying fa more
arts and those subjects, such as Mathematics and Science, whose heavily on la seva stronger identities als artists. In retrospect we
place in the curriculum. were fortunate that we had this luxury for we were both functioning
It became increasingly apparent upon further reflection que es in departments of one, leaving us isolated professionally; i gaudeixen
gained confidence en la classroom škola que fa de remaining que la naturalesa de la professió s'ha de fer una idea dels singles
distinct, les nostres artístiques i teaching identities beguen el adults en el room s'adolescents, aquest ofereix became personal
complement one another. Carmen told Margaret, que s'utilitza isolació com a well. When confronted with teaching a les arts
performance per a l'interès de les persones interessades i les educators a la universitat, és la nostra credibility i experiència als
actituds de les persones improved ràpidament a partir d'aquesta teachers 'from the coalface' que ensured a relatively seamless transition.
pàgina en la classe. even the students who were more problematic, Aix Carmen ha hagut de fer els temps en schools than Margaret
were enthusiastically involved in playing the instruments together had, Margaret no s'aprecia el discover que Carmen fou it molt difficult
with their friends. Aquest improvement en l'estudiant engagement, a la nova universitat acadèmica per a utilitzar reflections a means to
que exposarà a les teories driven currículums, a més a més a més a gain knowledge. Though Margaret ha fet tot el que és problematic,
més a més a més va ser un producte de la mateixa decisió en més de 14 anys a l'escola classroom teacher ha inculcat en aquest
Margaret's part per utilitzar art exhibicions com a pedagogical tool. respecte, perhaps més de reverència, per a beneficis de reflection,
Though were both too intimately involved to be fully aware of the bot per herself i els seus students. As Freedman (2007, p. 214)
processes we ha ha initiated, it is now clear that there was no states: “Art educators ha d'estar molt llargs que les art helps students
compartmentalising of our identity als artists and teachers, but rather understand human condition through their investigation of
we has asumit hybrid identity; first a matter of professional survival themselves”. Per a tragèdia, i que no és tou strong a word to descriu
and later a filosophical choice. Amb el temps, segons, el most les stress que regularment drive otherwise talented teachers from
observable resulta que la experiència experiència de la validació the classroom, can be mitigated through being reflected on,
externa als estudiants en el context d'escola, hitherto d'experiència discussed and solutions sought. Carmen adoptarà que aquesta
reservi per les seves oportunitats al respectiu article endeavours. reflectió en la seva pràctica pràctica, on Schön (1992) descriu les
'knowledge in action' facilitaten increïbles sense eficacia que són
4.4.2. Praxis xoc eventualment resultants en el seu feeling a un gran sense motivació
El discussió és became increasingly clear que la formació de la i accés.
nostra identitat dels artistas per a estudiants és un vestit fraught s
malament i self doubt. El sense estrès engenderat per promoure les 4.4.3. Strategies to improve practice
seves experiències similars facilitats per preparar-se per carregar Given el nostre age i cultural differencies, estant precipitades per
algunes de les distressing moments que s'han endurit. Margaret va la similaritat a les strategies que adopten per ordenar la improvisació
ser especialment mogut per Carmen's honesty en acknowledging, del teaching practice. Això és evident que la seva inici inicial és
que s'ha trobat el seu first year of teaching almost overwhelming. engaged students en performances o exhibicions en ordre per increïr
Many times, I cried onze I arrived home. I felt incapable to deal with la seva confiança en la seva feina valuada al públic sense consciously
the attituds of some students. I was only 21 years old and some of recollida que els beneficiaris d'aquests processos. Aix Carmen noted
my students were only three years younger than me. We were performing és wonderful tool per adquirir practical nowledge and it
particularment empathetic towards 1 another given the similarities in was the base I used to explore other fields in music. Margaret
our experiences. Així, un teacher in rural setting, replete with large semblantment utilitza els temes que s'han creat per exhibició
classes, gender stereotypes and general anti-intel·lectualism, d'organitzadors per competicions com a integració de temes per a
Margaret es faça s what she now recollides was potent cocktail de units de treball. L'artwork s'assassegen d'acord amb el currículum
classroom challenges que resoldran els mostres. Les successives documents i les entrades en una competició externa.
artistes contrastin el shaply with el seu sense quasi in a la primera Aix, com a students i educators flourished en el sistema per a les
etapa de la seva escola teaching careers que, per any, t'exacerbated seves personals i public rewards, el became possible per a
el guany uneix. Later we could desenvolupar programes i assessment tasques que purposively
consideren ensenyar i quality de les seves jornades. It was during this
Machine Translated by Google
Author's personal copy
return a la Universitat que Carmen reconverteix constructivist theories i la seva artista teacher identity i shaped in the school context i which we used per
l'importància dels estudiants a l'enfocament de la seva investigació (Bruner, 1973; informar les nostres arts educator identity at the university level.
Piaget, 1953; Vygotsky, 1978), però s'ha fet previsualment (i unconsciously) It va a choice which came at a cost, per focussing en el seu teaching, el present
explorat aquest. pressure per publicar was kept en arm's length, però el remainen ever present
issue, 1 which seemed a render any teaching success best, and at worse, an
Perquè Margaret assumeix posició en la Universitat Level, s'enrotllarà en un irrelevancy. Això és natural que Margaret assegurat teaching, spending extensive
domini preliminar i designat per a noves acadèmiques i s'ha fet que s'hagi periods time preparing mi classes and mentoring my students, because in
subsequentable a l'aix nombre de qüestions en supportive environment. És hindsight she was now comfortable with her artist teacher identity. Her early
l'indentment de la professió que el seu teacher educators belittled el curs, secure difficulties, i subsequent joys as she became more confident, were repackaged as
en el self serving belief que les seves expertes s'han provided them s all the skills 'learning experiences' which her students valoren els guideposts in their own
and knowledge they required. In contrast per a aquest view, Margaret va ser search per a teacher identity.
segur que la seva significació gaps en la seva teoretical knowledge. Aix she noted
in her narrative, when she began teaching she had little idea d'any thing such as
Gardner's Multiple Intelligences in helping students learn. Aquesta percepció és We found that our school teaching experience was extremely valuable a les
reinforced a l'interview per a la seva posició de Lecturer en Visual Arts Education arts educators at the university level. Although Carmen posa la vitalitat de la seva
a la universitat. Durant la interview it became apparent that the Faculty was secondary school students a jejich capacitat per quickly bebe involved in any
seeking to enhance students' prac tical knowledge as the previous incumbent activity which could motivate and engage them in practice of music, she enjoyed
utilised a predomi nately theoretical approach. It became evident that it was teaching at university level from the very first moment. En aquest nou setting he
Margaret's practical skills and expertise which were predominately of interest to fet relleved no s'ha de fer amb behaviour problemes que, besides allowing a to
the Faculty. Though this assuaged Margaret's concerns sobre ell perceived lack deliver better quality lessons, helped her to connect more effectively with her
of this theoretical knowledge which had damned her predecessor, she still saw students.
the need to increase her teoretical knowledge o teaching concurrently with learning
to teach. Aquesta admetted in her narrative that I really feel that I have learned Aquest, en torn, fa que realitzi l'impacte que les persones values d'educadors
more abou teaching by having to teach pre service and graduate teachers. poden experimentar en les seves pràctiques practiques, particularment en la àrea
Carmen descriu el seu inici d'introducció en la universitat com a treure awkward d'arts que requereixen substantial emotional involvement.
en la resignació en el semestre que se'n vagi per adaptar-me a lessons a la que In some ways Margaret felt que sense behaviour problems, limited timetabling
va already been set. However, la banda és que familiaritzar amb nosaltres s set per art i extra-curricular activitats s'ha able en real concentrat en quality teaching
readings per diferents cour ses són effectively provided s crash course in in her university classes. Fortunately els anys teaching in schools and some
educational theory. Margaret found it particularment reassuring, as Carmen in sessional university teaching had enabled her to continually improve her delivery
time would as well, a discover that other arts educators had experi ence similar of information which as Hausman (1970, p. 334) proposed unlike artists, teachers
issues. El seu compte és fins a les professionals connections que s'han de beure cannot afford the luxu audience of his [sic] time.” En addition, Margaret posa that
amb conspicuously absent al nostre darrere anys al school environments. We although som trainee teachers had be afected by negative school experiences in
observed altres acadèmics, soms de quasi belonged to other discipline areas, relation to art, she could use her naus stories a encourage them a share their own
which helped us to define el tipus de pedagogical practice which would be effective in order to build a secure and comfortable envi to onze again take risks.
at the university level. Our school experience, however, remaineu a vital influence
in this new environment. És bo beleu que sharing stories de les seves successes
i challenges en el classroom s la seva pre-service school teachers aleshores la
nostra credibility, però even more importantly proves them s relevant insights do
les looming baptism as schoolteach. La Margaret note as mi expertise has grown, Margaret també shocked a discutir que les universitats actualment rewarded
I have been involved in increasingly more successful classroom and research good teaching and thrilled to receive a number of awards during this early phase
experiences. of her teaching. Aquest proveeix d'external validació d'experiència, és experimental
rare en l'escola d'investigació: La seva capacitat d'omplir la seva experiència de
treball durant tot el temps que s'hagi teaching load, a stále manager to publish, és
remarkable i confirmar la teva dedicació a la learning development. La seva
experiència excel·lència és recollida per students i col·leagues alike, i amb una
universitat community, i ofereix la nostra agraïment i congratulacions per a aquesta
well deserved award (Vice Chancellor, UTAS, 2007). A més, comments de trainee
teachers mitjançant feedback surveys, que no són mechanisms utilitzats en
schools. prepareu future teachers for the classroom. Aquestes views were echoed
in more personalised manner by a student que ho noted that: Being in this course
4.4.4. Teaching and research in the university context was a joy! I loved every lesson and didn't miss one week! Her teaching style was
Although la nostra experiència s'ha provat invaluable in assisting en el shift a really enjoyable. I llegiu el vostre i realment supported all of us through every part
l'acadèmia és un bot inicialment unaware of privilegiada plaça que research of our learning journey (Student Evaluation, EDU1452, 2009). Margaret feels que
occupies at university level. tots els xalets i joies s'han experimentat en el fet de no tenir les artistes teacher
Carmen va ser carregat que durant Margaret's tres anys provació s'ha expectat en les escoles has contribuït molt a l'ongoing identity als arts educators a la
per haver completat el seu PhD com a part d'aquest employment ongoing a la universitat. Aquesta dedicació és recollida a la National Citation for Outstanding
Universitat. Aquesta placeda Margaret invideix a la seva posició de no merely Contribution to Student Learning from the Australian Learning and Teaching
balança de demandas per a la nova universitat acadèmica, però per finançar els Council (ALTC) in 2008.
mètodes d'intèrpret que expliquen i seemingly més problematic identity i la
researcher. Aquests són també apparents a Carmen's experiència a la nova
universitat acadèmica ia l'escola estudiantil educativa durant el qual s'ha fet el
building a track record i balança de pressure per a un teach and publicat per a
constant challenge. Faced with the uncertain, we placed our faith in the nown, in
this case
Although most Spanish universities do not reward good teaching,
Machine Translated by Google
Author's personal copy
Perceived les essentiales components de teacher's identity which proveeix Highlighted that specific training for novice academics at the university level can
assistance i suport per coping s challenges de nova posició i enhancing be effective platform in developing them selves professionally in this new context.
professional expertes en either the school or a nòvice academic in the university Aquests tipus de curses, el seu graduat certificat en University Teaching and
context. Aquests complements the findings of Swennen et al. (2009), que Learning, enable novice academics per share their experiences, to ask any
documenta la importància de treballar col·laborativament amb altres colleagues questions before sympathetic audience and to imporcently discover that other
per comprovar les dificultats de la nova universitat acadèmica. colleagues is going through similar reassuring. Aquest finding és en línia per a les
iniciatives que són undertaken interna tionally (Bamber, Walsh, Juwah, & Ross,
2006; Gibbs & Coffey, 2000; McLean & Bullard, 2000; Rowland, Byron, Furedi, ;
5.4. Recomanada 4: establishing communities of practice between the 1998). The study has també highlighted the need to support novice university
school and university sectors academics working in education through effective induction to the new context
(Barlow & Antoniou, 2007; Sinkinson, 1996, 1997). Aquest include receiving
La importància d'establir comunitats de practice durant el teacher de treball, mentoring sessions from sènior acadèmics, observin lessons de les altres
particularment entre l'escola i la universitat sectors cannot be underestimated. experiències acadèmics en la seva àrea, discussiu les seves idees sobre educació
Aquest servei pot alleujar el sense isolació que la nòvia school teachers and o treball collaboratively s colleagues en fields d'educació i recerca. Finalment, el
novice university academics can experience. Communities de pràctica són els nou universitat acadèmica necessita tot això com a abast de la validesa
mosts de gap durant els dos contexts i facilitat les jornades de teachers de l'escola d'implementar altres individuals les mevesures com les reflexions en les seves
en un università context, particularment en termes pedagogicals expertises i pràctiques d'aprenentatge a ordenar el desenvolupament professional en el sector
requirements for research (Murray & Male, 2005). Oferint induc tion programs for università.
school teachers which contribute credit towards further qualificacions in teaching
and learning is further means by which a school teachers aided in obtaining
qualificacions recolli nised as beneficial to accessing employment opportu
Acker, S., & Feuerverger, G. (1997). Doing good and feeling bad: work of women
university teachers. Cambridge Journal of Education, 26(3), 401i421.
Australian Government. (2008). Review of Australian higher education report.
6. Conclusió Accessed 21.07.09 from. <http://www.deewr.gov.au/HigherEducation/Review/
Pages/ReviewofAustralianHigherEducationReport.aspx>.
Ensuring novice university academics ha estat suficient teaching experience Baguley, M. (2005). Engaging museums and galleries in pre-service teacher education.
In Rhapsody 21C: Conferència en futures universitats museus i art galleries en la
before moving to a role in educating futures teachers would contribute a increasing nova century, 25-27 maig, 2005. Launceston, Tasmània.
professional credibility ia overcoming somes d'initial difficulties (Fink, 1982; Murray Baguley, M. (2007). Nurturing the research spirit: confessions of a generation X-er.
& Male, 9 2005 Smith, 2003; Swennen et al., 2009) experienced by novice In AARE 2006: Australian association for research in education annual conference
2006: Engaging pedagogies, 27-30 November, 2006. Adelaide, Austràlia.
university academics. Challenges encountered by beginning school teachers such Bal, M. (1997). Narratology: Introducció al tema de la narrativa (2nd ed.). Toronto:
as developing an identity which is informed by previous experience and expertise; University of Toronto Press.
comprehending the requirements for the role of teacher; s'informi a implementar Ballantyne, J. (2007). Documenting praxi shock in early-career Australian music
teachers: l'impacte de pre-service teacher education. International Journal of Music
strategies per assistir a practicar i participar en la recerca d'opportuni ties, les Education: Practice, 25(3), 181i191.
quals s'han dut a terme importants en facilitat la transició per a les educadores Bamber, V., Walsh, L., Juwah, C., & Ross, D. (2006). New lecturer development
que volen fer experiència i experts i establir a educar en un univers. programmes: a casa study of Scottish higher education institutions. Teacher
Development, 10(2), 207e231.
Bamford, A. (2006). The wow factor: Global research compendium on the impact of the
arts in education. Nova York; Berlín: Waxmann.
Bandura, A. (1997). Self-efficacy: The exercise of control. New York: Freeman.
Barlow, J., & Antoniou, M. (2007). Room for improvement: experiències de nous
lecturers in higher education. Innovations in Education and Teaching International,
44(1), 67e77.
A l'addició a l'hora d'advantages d'haver fet previsual experiència per a un Beijaard, Sr., Meijer, PC, & Verloop, N. (2004). Reconsidering research on teachers'
easier shift a la universitat context, aquest estudi té també atenció a l'importància professional identity. Teaching and Teacher Education, 20, 107e128.
Beijaard, Sr., Verloop, N., & Vermunt, JD (2000). Teachers' perceptions of professional
d'estudis i mentoring en aquest procés. In particular, the narratives have identity: and exploratory study from personal knowledge perspective.
Teaching and Teacher Education, 16, 749-764.
Machine Translated by Google
Author's personal copy
Bennet, C. (1985). Paint, pots of promotion? Art teachers' attituds towards their careers. In S. Josselson, R., Lieblich, A., & McAdams, D. (Eds.). (2003). Up Close and Personal: teaching
Ball, & I. Goodson (Eds.), Teachers' lives and careers (pp. 120e137). and learning of narrative research. Washington, DC: American Psycho logical Association.
Great Britain: The Falmer Press.
Bohl, N. (1995). Professionally administered critical incident debriefings for police officers. In Kane, R., Sandretto, S., & Heath, C. (2002). Telling half the story: a critical review of research
M. Kurke, & E. Scrivner (Eds.), Police psychology into the 21st century (pp. 169e188). on teaching beliefs and practices of university academics. Review of Educational Research,
Washington, DC: APA Publishers. 72, 177-228.
Bowman, W. (2006). Why narrative? Why now? Research Studies in Music Education, Kelchtermans, G. (1993). Getting the story, understanding the lives: from career stories to
27(1), 5e20. teachers' professional development. Teaching and Teacher Education, 9 (5/6), 443-456.
Boyer, E. (1990). Scholarship reconsidered: Priorities of the professoriate. Princeton,
NJ: The Carnegie Foundation. Kelchtermans, G. (1999). Narrative-biographical research on teachers' professional
Brady, L., Segal, G., Bamford, A., & Deer, C. (1998). Student perceptions of the theory/ practice development: Exemplifying a methodological research procedure. Paper presentat at the
nexus in teacher education. In AARE 1998: Australian Association for Research in AERA, Montreal, Canadà, April.
Education: 29 Nove3 Dec, Adelaide, Austràlia. Kelchtermans, G., & Ballet, K. (2002). The micropolitics of teacher induction. A narrative-
Brems, C., Baldwin, M., Davis, L., & Namyniuk, L. (1994). The imposter syndrome as related biographical study on teacher socialisation. Teaching and Teacher Education, 18, 105e120.
to teaching evaluations and advising relationships of university faculty members. The
Journal of Higher Education, 65(2), 183i193. Kvale, S. (1996). InterViews: An introducció a qualitative research interviewing.
Brinthaupt, T., & Lipka, R. (Eds.). (1992). The self: Definitional and methodological Thousand Oaks, CA: Sage.
issues. Albany, NY: State University of New York Press. Labaree, DF (2003). The peculiar problems of preparing educational researchers.
Bruner, J. (1973). Going beyond the information given. New York: Norton. Educational Researcher, 32(4), 13e22.
Burns, R. (2000). Introduction to research methods (4th ed.). Frenchs Forest: Pearson Lacey, C. (1977). The socialization of teachers. London: Methuen.
Education. Lansing, K. (1976). Art, artistes i art education. Nova York: McGraw Hill.
Catelli, LA (1995). Action research and collaborative inquiry in a schooleuniversity partnership. Leavy, P. (2009). Method meets art. New York: The Guilford Press.
Action in Teacher Education, 26, 25e38. Lincoln, IS, & Guba, EG (2000). Paradigmatic controversies, contradictions, and emerging
Catelli, LA, Padovano, K., & Costello, J. (2000). Action research in the context of school- confluences. In NK Denzin, & YS Lincoln (Eds.), Handbook of qualitative research (2nd
university partnership: its value, problems, issues and benefits. ed.). (pp. 168e188) Thousand Oaks, CA: Sage.
Educational Action Research, 8(2), 225e242. Lortie, D. (1975). The schoolteacher. A sociological study. Chicago: University of
Ceglowski, D. (1997). That's a good story, but is it really research? Qualitative Inquiry, 3(2), Xicago Press.
188i201. Mark, D. (1998). The music teacher's dilemma i musicien or teacher ? International Journal of
Chase, S. (2005). Narrative inquiry. In N. Denzin, & Y. Lincoln (Eds.), The Sage handbook of Music Education, 32, 3e23.
qualitative research (3rd ed.). (pp. 651e679) Thousand Oaks, Califòrnia: Sage Publications. McLean, M., & Bullard, J. (2000). Becoming a university teacher: evidence from teaching
portfolis (how academics learn to teach). Teacher Development, 4(1), 79e101.
Clandinin, DJ (2007). Handbook of narrative inquiry: Mapping a methodology.
Thousand Oaks, CA: Sage. Mishler, E. (2000). Storylines: Craftartists narratives of identity. Cambridge, MA:
Clandinin, DJ, & Connelly, FM (2000). Narrative inquiry: Experience and story in Harvard University Press.
qualitative research. Sant Francisco: Jossey-Bass. Mitchell, SN, Reilly, RC, & Logue, ME (2009). Benefits of collaborative action research for the
Clandinin, DJ, Pushor, D., i Murray Orr, A. (2007). Navigating sites for narrative inquiry. Periòdic beginning teacher. Teaching and Teacher Education, 25(2), 344e349.
of Teacher Education, 58(1), 21e35.
Connelly, FM, & Clandinin, DJ (1990). Stories of experience and narrative inquiry. Montuori, A. (1992). Creativity, chaos and self-renewal in human systems. World Futures, 35,
Educational Researcher, 19(5), 2e14. 195i209.
Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and Mueller, A. (2003). Looking back and looking forward: always becoming a teacher
invention. New York: Harper Perennial. educator through self-study. Reflective Practice, 4(1), 67e84.
Daichendt, G. (Setember 2009). Redefining the artist-teacher. Art Education 33e38. Murray, J. (2003). New teacher educators' needs: Perspectives from research and
Daniels, H. (2001). Vygotsky & pedagogy. London: Routledge & Falmer. practici. London: Teacher Training Agency.
Davis, D. (2008). First we see: National review of visual education. Australian Murray, J., & Male, T. (2005). Becoming a teacher educator: evidence from the field.
Government. Teaching and Teacher Education, 21, 125e142.
Denzin, N. (1989). Interpretive biography. Newbury Park: Sage. Nias, J. (1989). Primary teachers talking: A study of teaching as work. London:
Denzin, N., & Lincoln, I. (Eds.). (2000). Handbook of qualitative research (2nd ed.). Routledge.
Thousand Oaks, Califòrnia: Sage. Piaget, J. (1953). The origins of intelligence in children. New York: International
Dewey, J. (1959). Art as experience. New York: Capricorn Books. Universities Press.
Dunn, DS (2003). Teach me about your life: narrative approaches to lives, meaning, and Polkinghorne, D. (1988). Narrative knowing and the human sciences. Albany, NY: State
transitions. Periòdic of Social and Clinical Psychology, 22(5), 604i606. University of New York Press.
Robinson, M., & McMillan, W. (2006). Who teaches the teachers? Identity, discourse and policy
Eisner, E. (2002). What can education learn from the arts sobre la practice of education? in teacher education. Teaching and Teacher Education, 22, 327e336.
Journal of Curriculum & Supervision, 18(1), 4i16.
Elliot, S. (2006). Artist/teacher connection in preservice art education. Unpub lished doctoral Rowland, S., Byron, C., Furedi, F., Padfield, N., & Smyth, T. (1998). Turning academics into
dissertation, University of Rochester, Rochester, Nova York. teachers? Teaching in Higher Education, 3(2), 133e142.
Feldman, E. (1982). The artist. Englewood Cliffs, Nova Jersey: Prentice Hall. Scheib, JW (2006). Policy implications for teacher retention: meeting the needs of the dual
Fink, LD (1982). First year on the faculty: A study of 100 beginning college teachers. identities of arts educators. Education Policy Review, 107(6), 5e10.
Washington: National Science Foundation. Schön, D. (1987). Educating the reflective practitioner. Sant Francesc, Oxford: Jossey
Freedman, K. (2007). Artmaking/troublemaking: creativity, policy and leadership in Bass.
art education. Studies in Art Education, 48(2), 204i217. Schön, D. (1992). La formació de professionals reflexius. Cap a un nou disseny de
Freire, P. (1972). Pedagogi of the oppressed. Harmondsworth: Penguin. l'ensenyament i l'aprenentatge a les professions. Barcelona: Paidós/MEC.
Gardner, H. (1993). Multiple intelligences: The theory in practice. New York: Basic Schwebel, M. (1974). Piaget in the classroom. London: Routledge & Kegan.
Books. Sinkinson, A. (1996). From teaching mathematics to training teachers. Mathematics
Gibbs, G., & Coffey, M. (2000). What is training of university teachers attempting to achieve, i Education Review, 7, 17e24.
com could we tell if it makes any difference? Paper presentat at the international consortium Sinkinson, A. (1997). Teachers into lecturers: an agenda for change. Teacher Devel opment,
for educational development conference, University of Bielefeld, Germany, July. 1(1), 97e105.
Smith, K. (2003). Teacher educators' professional knowledge: How does it differ from teachers'
Graham, M., & Zwirn, S. (2010). How being a teaching artist can influence Ke12 education. professional knowledge? Paper presenti'l a l'annual meeting d'American Educational
Studies in Art Education, 51(3), 219i232. Research Association, Chicago, USA, April.
Hatfield, C., Montana, V., & Deffenbaugh, C. (Maig 2006). Artist/art educator: making Springgay, S., Irwin, R., & Kind, S. (2008). A/R/tographers and living inquiry. In JG Knowles, &
sense of identity issues. Art Educator 42e47. AL Cole (Eds.), Handbook d'arts in qualitative research (pp. 83e91). Thousand Oaks, CA:
Hativa, N., Barak, R., & Simhi, E. (2001). Exemplary university teachers: knowledge and Sage Publications.
belief's regarding effective teaching dimensions and strategies. The Journal of Higher Swennen, A., Shagrir, L., & Cooper, M. (2009). Becoming a teacher educator: voices of
Education, 72(6), 699i729. beginning teacher educators. In A. Swennen, & M. van der Klink (Eds.), Becoming a
Hatt, A. (1997). Teacher into tutor: personal account of move from primary teaching to initial teacher educator. Theory and practice for teacher educators (pp. 91e102). Dordrecht:
teacher education. Multicultural Teaching, 19(2), 43i47. Springer Publishers.
Hausman, J. (1970). Teacher as artist and artist as teacher. In G. Pappas (Ed.), Concepts in Taylor, D. (1999). The arts equation. Broadway, Nova York: Back Stage Books.
art education: An anthology of current issues (pp. 333e341). Torrance, H., & Pryor, J. (2001). Developing formative assessment in the classroom: usant
Nova York: The Macmillan Company. action research to explore and modify theory. British Educational Research Journal, 27(5),
Hodkinson, S., & Taylor, A. (2002). Initiation rites: the case of new university lecturers. 615i631.
Innovations in Education and Teaching International, 39(4), 256-264. Trzebinski, J. (2005). Narratives and understanding other people. Research in Drama
Huberman, M. (1995). Working with life-history narratives. In H. McEwan, & K. Egan (Eds.), Education, 10(1), 15e25.
Narrative in teaching, learning and research (pp. 127e165). Unrath, K., & Kerridge, D. (2009). Becoming an art teacher: storied reflections of two preservice
New York: Teachers College Press. students. Studies in Art Education, 50(3), 272i286.
Machine Translated by Google
Author's personal copy
van den Berg, R. (2002). Teachers' meanings regarding educational practice. Review Weimer, M. (2006). Enhancing scholarly work on teaching & learning. USA: Jossey
of Educational Research, 72(4), 577e625. Bass.
Vygotsky, LS (1978). Mind in society: The development of higher psychological Woods, P. (1993). Critical events in teaching and learning. Basingstoke, UK: Falmer
processos. Cambridge, MA: Harvard University Press. Press.
Walker, C., Gleaves, A., & Grey, J. (2006). A l'estudi de difficulties de cara i suport a la nova Worrall-Carter, L., & Snell, R. (2003). Nurse academics meeting the challenges of scholarship
universitat teachers' work. Teachers and Teaching, 12(3), 347e363. and research. Contemporary Nurse, 16(1e2), 40e50.
Weber, S., & Mitchell, C. (1995). That's funny, you don't look like a teacher. London: The Wright, S. (Ed.). (2003). Children, meaning-making and the arts. Frenchs Forest: Pearson
Falmer Press. Prentice Hall.
Webster, L., & Mertova, P. (2007). Using narrative inquiry as a research method. Zeichner, K. (2005). Becoming a teacher educator: a personal perspective. Teaching and
Abingdon, Oxon: Routledge. Teacher Education, 21, 117e124.