The (mis)identification of ineffective classroom teaching practice : critical interrogations of classroom teacher effectiveness research

This paper critiques specific forms of classroom teacher effectiveness research. In doing so, the paper suggests that education policy-making deems and employs teacher effectiveness research as a promising and capable contrivance for the identification of ineffective classroom teaching practice. The paper engages with this policy debate by using a specific policy example from the Australian state of Victoria, the Victorian Department of Education and Early Childhood Development (DEECD) Blueprint for Government Schools (2003/2008). Moreover, the attention given to “teacher effectiveness” as the means by which school systems aim to reverse student under-achievement positions classroom teachers as the controlling authority over educational outcomes. Indeed, teacher effectiveness is the defining quality of a policy-making debate that at its core dispenses with broader considerations of possible influence thought to substantially affect the learning outcomes of public school students.

Lessons from Alison: a narrative study of differentiation in classroom teaching

Teaching is challenging in part because, although school structures are to some extent modelled on industrial approaches in which the ‘raw materials’ are assumed to be very similar, human beings are endlessly diverse. Understanding the many differences amongst students, and treating these differences as teaching resources rather than deficits, is a powerful approach. This paper draws on teacher interviews and classroom observations collected during a two-year study of two regional Queensland schools to explore issues of ‘recognition’, ‘distribution’ and social justice. It uses narrative vignettes from a single classroom to provide an occasion for reflection on the part of the reader on how schooling can better meet the needs of students, and outlines six pedagogical practices for effective classroom teaching.

Academic pedagogies, quality logics and performative universities : evaluating teaching and what students want

Universities have focused on teaching and learning at a time when quality has become the marker of distinction in international higher education markets. Education markets have meant pedagogical relations have become contractualised with a focus on student satisfaction, exemplified in consumer-oriented generic evaluations of teaching. This article argues, by analysing one example, that generic evaluations are more about accountability and marketing than about improvement of teaching and learning. Furthermore, what students want is not the only criterion for judging teaching. Rather, professionals require, as do academics, a capacity for critical judgement about what constitutes valued knowledge in the pedagogical relationship between teacher and student.

Competency-based training, global skills mobility and the teaching of international students in vocational education and training

 In Australia, all vocational education and training (VET) qualifications must be based on competency-based training (CBT) and training packages. Yet, since 2005, there has been a major expansion in the number of VET international students in Australia, 85% of whom are from Asia. Given this development, the teaching and learning contexts in which competency-based training and training packages are located are becoming increasingly diverse and no longer reflect the traditional training characteristics and boundaries that apply for domestic students.
This paper examines the relevance of training packages and CBT for teaching international students in the Australian VET sector. It draws on interviews with teachers and international students from 25 public and private training providers in Australia. The discussion of the findings aims to assist the VET sector create a curriculum framework that supports flexibility, adaptation and responsiveness so that international students’ divergent and shifting study purposes and complex learning characteristics can be catered for effectively. This contributes to helping the sector remain viable in a context in which a VET course is no longer a pathway to migration.

Teaching literacy in the new media age through the arts

Many school literacy practices often ignore youths' creativity in the 'new media age'. School curricula often do not acknowledge the range of skills adolescents acquire outside formal education. Youths' new multi- modal social and cultural practices - as they fashion themselves creatively in multiple modes as different kinds of people in 'New Times' - points to the liberating power of new technologies that embrace their imagination and creativity. In two middle years classes, adolescents' creativity was recognised and validated when they were encouraged to re-represent curricular knowledge through multi-modal design (New London Group 1996). The results suggest the changed classroom habitus produced new and emergent discursive and material practices where creativity emerges as capital in an economy of practice. Recommendations are put forth for schools to recognise adolescents' creativity - that often manifests itself through their cultural and social capital resources - as they integrate and adapt to the new affordances acquired through their out-of-school literacy practices.

Arts education partnerships in Australia: spaces and places for teaching and learning

The arts over the centuries have continued to pervade, direct and define our societies. In Australia, they are seen as an important and influential mechanism of pedagogies. In arts education students explore and express their identity and build understanding of their worlds through learning by doing and social interaction. This long-established position is endorsed by contemporary arts education pedagogies that encourage students to look, listen, learn, think, and work as artists in new places and spaces. The forthcoming Australian Curriculum: The Arts (dance, drama, media arts, music, and visual arts) will require consideration of the students’ own cultures and the cultures of their communities, region, and the wider world. Interaction between the students and the wider arts community are central to this approach. Using narrative inquiry, reflective practice, and document analysis as our methodologies, we describe ways of seeing, knowing, and learning between artists, students, schools, education authorities, and universities in the Australian state of Victoria. The authors contend that collaborative partnerships take many forms and provide opportunities for exploration of pedagogies that foster strong relationships between arts education and the arts industry.

Enhancing students' experience in music composition through music notation software

A project was undertaken in a Hong Kong primary school to investigate the role of music notation software in leaching music composition. The project was divided into three stages. During the first stage, appropriate hardware equipment and software applications were installed in the school music room, and four teaching plans were developed on the models and strategies derived from findings in the local and international literature. During the second stage, these teaching plans were implemented in Grade One, Grade Three, Grade Five and Grade Six classes of the school. During the third stage, the effectiveness of these teaching activities was evaluated by comparing the experiences from the second stage to the corresponding findings from similar projects undertaken in other Hong Kong primary schools, as well as to findings from the international literature. The results demonstrated that tile visual and audio stimulation created by computer"based technology can motivate students to successfully engage in music composition. Moreover, computer"based technology provides an opportunity for students to compose music in an atonal idiom. However, a large number of students were unable to demonstrate the concept of structural design in their musical products, and one of the findings from this investigation was that teachers need to be more purposeful in their teaching by directing students to employ the technique of repetition of interesting musical fragments or phrases in order to achieve a sense of unity in their pieces.

Kerry Freedman's Teaching visual culture : curriculum, aesthetics and the social life of Art

Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art, Kerry Freedman (2003) New York: Teachers College Press & Reston: National Art Education Association, xiv + 187 pp., ISBN 0-8077-4372-0 (hbk £29.95)

This critical review has two principal goals. First of all, it will briefly summarize how Kerry Freedman’s ambitious eight-chapter monograph initially sets in train a number of key themes, all of which are aimed at enlarging if not transforming visual arts practice. Secondly, it will critically disclose a small set of pivotal assumptions which call any uncritical support for visual culture as the panacea for arts education into question. More particularly, we shall conclude, the logical underpinnings of Teaching Visual Culture are open to serious doubt in at least two respects.

Macroscale chromatography in the classroom

This paper describes how a simple macroscopic working model can be constructed to demonstrate the operation of chromatography in the classroom. Since the resources for construction may vary from school to school, the effect of varying 'molecular size'and packing parameter on the operation of the'chromatography column'have been investigated to provide guidance for teachers in the selection of materials to construct your own macroscopic chromatography column. Macroscopic working models help students make the link between the macroscopic observables e.g. retention time) and the conceptual explanations of the phenomenon at the microscopic level, thus helping to overcome most of the confusion and misconceptions associated with chromatography.The column is effective because it can engage kineastic, visual and auditory learning modes.The working model presented here separates components on the basis of size; other models, which separate by shape, mass, type of material, etc, are also mentioned.