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This article was downloaded by: [Hacettepe University] On: 19 December 2014, At: 18:40 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Teaching Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/cted20 Authentic artsbased learning in teacher education: a musical theatre experience Holly Ogden a , Christopher DeLuca a & Michelle Searle a a Faculty of Education , Queen’s University , Kingston, Ontario, Canada Published online: 29 Oct 2010. To cite this article: Holly Ogden , Christopher DeLuca & Michelle Searle (2010) Authentic artsbased learning in teacher education: a musical theatre experience, Teaching Education, 21:4, 367-383 To link to this article: http://dx.doi.org/10.1080/10476210.2010.495770 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms- and-conditions

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This article was downloaded by: [Hacettepe University]On: 19 December 2014, At: 18:40Publisher: RoutledgeInforma Ltd Registered in England and Wales Registered Number: 1072954 Registeredoffice: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK

Teaching EducationPublication details, including instructions for authors andsubscription information:http://www.tandfonline.com/loi/cted20

Authentic arts‐based learning inteacher education: a musical theatreexperienceHolly Ogden a , Christopher DeLuca a & Michelle Searle aa Faculty of Education , Queen’s University , Kingston, Ontario,CanadaPublished online: 29 Oct 2010.

To cite this article: Holly Ogden , Christopher DeLuca & Michelle Searle (2010) Authenticarts‐based learning in teacher education: a musical theatre experience, Teaching Education, 21:4,367-383

To link to this article: http://dx.doi.org/10.1080/10476210.2010.495770

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracy of all the information (the“Content”) contained in the publications on our platform. However, Taylor & Francis,our agents, and our licensors make no representations or warranties whatsoever as tothe accuracy, completeness, or suitability for any purpose of the Content. Any opinionsand views expressed in this publication are the opinions and views of the authors,and are not the views of or endorsed by Taylor & Francis. The accuracy of the Contentshould not be relied upon and should be independently verified with primary sourcesof information. Taylor and Francis shall not be liable for any losses, actions, claims,proceedings, demands, costs, expenses, damages, and other liabilities whatsoeveror howsoever caused arising directly or indirectly in connection with, in relation to orarising out of the use of the Content.

This article may be used for research, teaching, and private study purposes. Anysubstantial or systematic reproduction, redistribution, reselling, loan, sub-licensing,systematic supply, or distribution in any form to anyone is expressly forbidden. Terms &Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions

Page 2: Authentic arts-based learning in teacher education: a musical theatre experience

Teaching EducationVol. 21, No. 4, December 2010, 367–383

ISSN 1047-6210 print/ISSN 1470-1286 online© 2010 Taylor & FrancisDOI: 10.1080/10476210.2010.495770http://www.informaworld.com

Authentic arts-based learning in teacher education: a musical theatre experience

Holly Ogden*, Christopher DeLuca and Michelle Searle

Faculty of Education, Queen’s University, Kingston, Ontario, CanadaTaylor and FrancisCTED_A_495770.sgm(Received 12 October 2009; final version received 12 December 2009)10.1080/10476210.2010.495770Teaching Education1047-6210 (print)/1470-1286 (online)Original Article2010Taylor & Francis214000000December 2010Mrs [email protected]

There is increasing concern over disengagement of teacher candidates during on-campus periods of pre-service programs due to the perceived disconnect betweeneducational theory and practice. In response, teacher education has been called toengage candidates in praxis through authentic learning. In this paper, we bringtogether the fields of teacher education, authentic learning, and arts-based learningto articulate a means of enhancing pre-service programs. Specifically, this paperdocuments and analyzes the process of engaging teacher candidates in an authenticlearning experience of a musical theatre production. Data collected from 30 teachercandidates through rehearsal observations, a post-production questionnaire, andfocus group interviews indicated that participation created a sense of communityand belonging, as well as developed skills necessary to carry forward art-basedlearning activities into their teaching careers.

Keywords: teacher education; authentic learning; arts-based learning; musicaltheatre

Introduction

Several recent reports on the state of teacher education have called for increasedresearch on pre-service programming, curricula, and pedagogy (see Cochran-Smith,Feiman-Nemser, McIntyre, & Demers, 2008; Cochran-Smith & Zeichner, 2005;Crocker & Dibbon, 2008). In particular, research is required that addresses thepersistent challenges facing teacher education in Canada (Crocker & Dibbon, 2008;Tom, 1997). Most notably, these challenges include: (a) differences in standards andpractices across programs; (b) links between university learning and in-school practicaexperiences; (c) divide between theory and practice leading to didactic pedagogies(Grimmett, 1998; Korthagen, 1999); and (d) disengagement in on-campus program-ming (Sanford & Hopper, 2004). This study is concerned with finding ways to engageteacher candidates in meaningful learning experiences during their on-campus peri-ods. In line with previous research, we believe that the contrast between an emphasison theory and teaching philosophy in coursework and the highly practical focus duringin-school placements leads to feelings of disengagement amongst teacher candidates(Clift & Brady, 2005; Munby, Russell, & Martin, 2001). Hence we assert the need fora more authentic pedagogy in teacher education, one that integrates theory intopractical contexts that bear ‘real-world’ implications.

*Corresponding author. Email: [email protected]

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Several reform initiatives have endeavoured to address this concern of disengage-ment due to a didactic pedagogy with emphasis placed on experiential learning (i.e.,extended practica and field-orientation; Upitis, 2000), critical reflection and self-directed study (Russell, 2002), and cohort groupings (Beck & Kosnik, 2006). Despitethese efforts, the majority of candidates report that their on-campus courses and expe-riences were of the same or of lesser quality than other university courses they havetaken. This was especially true for consecutive teacher candidates (Crocker &Dibbon, 2008). We view these results as particularly problematic. Perhaps more thanin any other educational program, teaching and learning should be of greatest qualityin pre-service settings with an emphasis on exemplary pedagogy, curriculum, andprogram design. Teacher education programs must work to engage candidates in acommitment of deep learning that embodies the qualities valued by the teachingprofession. Hence, we heed Russell’s (1997) assertion that the way we teach teachersis the message and that we must educate the way we want candidates to educate. Thusour focus is on the conditions of a pedagogy that excites and engages candidates inlearning about teaching (Loughran, 1997).

Through this research, we present one example of authentic learning that has ledto candidates feeling more connected and engaged within their pre-service program.Specifically, we describe the process of engaging teacher candidates in a musicaltheatre production. Musical theatre combines music, songs, spoken dialogue, anddance as an integrated whole – it is the coming together of individuals, ideas, move-ment, language, and the arts. The process of creating a musical production creates asite for authentic engagement because participants are continually involved in negoti-ating meaning making. Scholars in theatre arts education suggest that in a changingeducational landscape, musical theatre has the potential to transform educationalclimates and in-school teaching and learning experiences (Seidel, 2002).

Engaging teacher candidates in this authentic learning experience has two centralpurposes. First, to provide an opportunity for candidates to learn in and through thearts, thereby enriching their experiences as education students and creating a sense ofcommunity, connectedness, and belonging within the Faculty of Education. Second,to learn the skills needed to carry forward arts-based learning activities into theirteaching careers. Both of these purposes provide valuable opportunities to curtailconcerns of candidate disengagement during on-campus periods and to addressconcerns that educational theory and practice are disconnected in teacher educationprograms.

In this paper, we analyze data gathered from a post-production questionnaire andthree post-production focus groups with cast and crew. A theoretical lens of authen-tic arts-based learning is used to analyze these results. By pairing theories in authen-tic and arts-based learning as a foundation for engaging teacher candidates, werespond to Grossman’s (2005) call for teacher education research that presents a‘theoretical framework that goes beyond single pedagogies’ (p. 451). Hence, thiswork serves as a model of the types of experiences that can enhance pre-serviceteacher education programs. In the following section we present literature on teachereducation, authentic, and arts-based learning to delineate our theoretical frameworkof authentic arts-based learning. This framework served to guide data collection andanalysis, and served to inform the generation of themes for our results. Finally weconclude with a discussion on what we view as key features of an authentic arts-based pedagogy for teacher education, its implications, and recommendations forresearch.

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Literature review

Teacher education

Teacher education programs in Canada face a tall order. They are required to preparecandidates to teach in multiple programs, grades, and content areas within richlydiverse schools and systems. Teachers are facing increasing pressures towards effi-ciency and effectiveness, in addition to standardized measures of improving studentoutcomes (Webster-Wright, 2009). Beyond this, there is an expectation that teacherstoday will engage their students through differentiated and varied pedagogies amidsta context of public accountability and standards-based education. Not surprisinglythen, the most commonly described function of pre-service education programs is toproduce competent professionals with both disciplinary knowledge and pedagogicalskills (Crocker & Dibbon, 2008). Given this context for teacher education, pre-serviceprograms continue to face challenges in balancing theory and practice as well asaddressing disengagement in on-campus learning (Crocker & Dibbon, 2008;Grimmett, 1998; Korthagen, 1999; Tom, 1997).

The program at Queen’s encounters many of the same challenges that persist inteacher education across the country. In response to these challenges, the pre-serviceprogram was restructured in 1997 from a program that employed a master-teachermodel of initial teacher education to one that emphasized learning from and throughfield-based experiences across educational settings (Upitis, 2000). This integratedapproach aimed to promote critically reflective professionals who integrate theoreti-cal, practical, and experiential knowledge in understanding the teaching and learningprocess (Queen’s University, 2009). The research described here builds on the theoryof integration to explore one initiative at Queen’s that is rooted in authentic arts-basedlearning. As authentic learning brings together theory and practice by allowing candi-dates to discover, explore, discuss, and make meaning of concepts and relationshipsin real-world contexts, this experience served to address the theory–practice gap(Grimmett, 1998; Korthagen, 1999). Paired with arts-based learning, this experiencealso alleviates concerns of candidate disengagement during on-campus periods bydeveloping a sense of connection, belonging, and a positive learning space (Bryk &Driscoll, 1988; Davis, 2008; Schaps, 2002).

Authentic arts-based learning works within the framework for teacher educationestablished by Loughran (1997). He suggests three principles for the design of pre-service curricula and pedagogy: (a) relationships, (b) purpose, and (c) modeling. Weleverage these principles as key features that create conditions for a pedagogy thatengages candidates in understanding and experiencing good teaching.

The first principle, relationships, is premised on the fact that education is aboutconnecting people with people, people with ideas, and people with nature; buildingstrong socio-personal and environmental relationships is important to learning. Rela-tionships are enhanced through the two-way process of trust and through promotingindependence in learning. Candidates must be able to choose opportunities that willhelp their learning and engage in relationships that enhance their view of education.

The second principle is purpose: ‘Teaching needs to be purposeful’ (Loughran, 1997,p. 60). The central purpose of teaching is to encourage individual and collective learning.Hence, good teaching is far more than the static transmission of knowledge or the enact-ment of prescribed lesson plans. Good teaching engages learners in meaning makingor what Ellsworth (2005) calls knowledge-in-the-making; connecting experiences ofpast and present, inner and outer, self and others. It is an active state that positions

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learners ‘in transition and in motion toward previously unknown ways of thinking andbeing in the world’ (Ellsworth, 2005, p. 16). This is a pedagogy that encourages candi-dates to reconsider their existing knowledge in light of new experiences and to processand synthesize information and ideas in new ways (Loughran, 1997).

The third principle, modeling, involves more than teacher educators demonstratingwhat might work in the classroom. Modeling here is taken to mean that teacher educa-tors model how to create conditions for an environment that promotes meaningmaking (Tom, 1997). Pre-service classrooms should look, feel, and sound like class-rooms of active learning. Loughran (1997) states that ‘if student-teachers are to under-stand a particular teaching strategy, they need to experience it as learners and asteachers’ (p. 62).

In addressing the challenges in pre-service education programs, we present a peda-gogy that is rooted in authentic arts-based learning. In the following section we specif-ically delineate aspects of this pedagogical framework. By bringing together thedomains of authentic and arts-based learning in teacher education programs, purpose-ful learning is modeled in a way that promotes the cultivation of relationships.

Authentic arts-based learning

Authentic arts-based learning is derived from the blending of authentic learningtheories and arts-informed pedagogy. In this section of the paper, we explore each ofthese frameworks independently before considering them together as a theoreticalframework for this research.

Authentic learning

The term authentic learning involves aligning student learning experiences with theworld for which they are being prepared. This kind of learning promotes real-lifeapplications of knowledge and encompasses several key features. Renzulli, Gentry,and Reis (2004) identified the importance of a real audience as a central feature ofauthentic learning. Their research also highlighted the necessity for learning to estab-lish a personal frame of reference by evoking an emotional commitment and cognitiveinterest. These qualities are situated within problems that remain open-ended andplace the learner at the centre of instruction (Maina, 2004).

In establishing a framework for an authentic pedagogy we draw from Rule’s(2006) review of 45 articles describing this learning process across a broad range ofsubjects. Rule found four salient themes within authentic learning: (a) activityinvolves real-world problems that mimic the work of professionals, and is targetedtoward a real audience beyond the classroom; (b) open-ended inquiry, thinking skills,and reflection are addressed; (c) students engage in social learning in a community oflearners; and (d) students are empowered through choice to direct their own learningin meaningful situations. These four themes contribute to our understanding ofauthentic learning and provide a foundation for our pedagogical framework.

Arts-based learning

Arts-based practices are broadly conceived within music, theatre, visual arts, writing,dance, drama, and photography. Arts-based learning is an umbrella term that‘prescribes no specific procedure to produce an arts-based project but identifies a genre

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within which there are a variety of approaches’ (Barone & Eisner, 2006, p. 98). Instead,arts-based learning invites openness, engagement and willingness to take risks.

Eisner (2002a, b) suggests distinctive forms of thinking that are needed to createartistic work. In particular, the creation of relationships, the ability to make decisionswithin an art form, and flexible purposing – whereby learning is understood as anemergent and dynamic process. Eisner also suggests the potential of aesthetic qualitiesin arts-based learning. He highlights that engaging in the arts promotes vitality andpromotes connectedness by engaging emotions in learning. These are certainly neces-sary components when creating conditions for a pedagogy that excites candidates inlearning about teaching.

Arts-based inquiry as a form of teaching and learning involves the intertwinedprocesses of creating, performing, and appreciating – processes that Smith-Autard(2002) argues are inherent within creative learning and activity. Researchers reportthat arts-based learning promotes artistic skill development as well as arts-related andancillary outcomes (Eisner, 1998). Some of these outcomes include: (a) increasedmetacognition (Hallam, 2001); (b) increased motivation, sustained attention, andcooperation skills (Jensen, 2001; Posner, Rothbart, Sheese, & Kieras, 2008); (c) bene-fits to working and long-term memory (Jonides, 2008); (d) the development of generalcognitive and attitudinal habits of mind (Hetland, Winner, Veenema, & Sheridan,2007); (e) the development of fair-minded citizens (Jensen, 2001); and (f) develop-ments of emotions and a sense of connection (Davis, 2008). These skills are viewedas transferable to diverse teaching contexts (Eisner, 2002a), and as such, we suggestare important for the development of new teachers.

Authentic arts-based pedagogy

Authentic arts-based pedagogy represents a way of constructing meaningful learningopportunities for pre-service educators through authentic engagement in the arts. Inte-grating authentic and arts-based learning in teacher education programs invites a peda-gogical shift that facilitates purposeful learning and establishes strong relationships.This shift complements Loughran’s (1997) principles of effective program design.When this pedagogical approach is integrated into pre-service programs, we assert thatthe challenges of disengagement and theory-practice disconnect are addressed. Themusical theatre experience at Queen’s was premised on an authentic arts-based peda-gogy. As context for this research, the following section details our production process.

Our process

At a graduate student symposium held in April 2008, three PhD students who werepassionate about music, dance, and drama discussed the possibility of directing amusical theatre production that could take place outside the structure of formal classesat the Faculty of Education. What started as a brief conversation quickly turned into arich discussion about how the arts can be used as a vehicle for learning about teaching.We saw great value in offering an extra-curricular musical theatre experience toteacher candidates. The purpose was twofold: (a) to promote authentic arts-basedlearning; and (b) to provide a context for fostering arts-based skills that could becarried forward into future educational settings.

Planning for the first ever faculty-wide musical production began in September,upon the arrival of more than 600 Bachelor of Education students enrolled in the

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one-year pre-service teacher education program. The program at Queen’s offers bothprimary/junior (P/J) and intermediate/senior (I/S) tracks with an approximately equalsplit of students across the two tracks. The majority of students enrolled in theprogram are in the consecutive program option, which means that they havecompleted an undergraduate degree and have then applied for admission into theone-year pre-service program. Approximately 100 students are final-year concurrentstudents, which means that they have completed their undergraduate degree along-side their Bachelor of Education; however, their final year of study is similar inmany respects to the concurrent pre-service program. The pre-service program struc-ture includes blocks of on-campus course work separated by blocks of in-schoolpracticum experiences. Given this structure, we held casting for the musical inNovember prior to candidates’ second practicum and rehearsed the show duringtheir on-campus time in January and February. As a guiding policy, we werecommitted to involving every Bachelor of Education candidate who expressed aninterest in participating in the musical; selecting a musical that provided flexiblecasting and which required minimal production elements was critical. Funding wassecured from the Office of the Dean at the Faculty of Education. This fundingallowed us to purchase the rights to perform Robert Fulghum’s All I really need toknow I learned in kindergarten (Zulia & Caldwell, 1999). The musical is a collec-tion of vignettes that offered a wide range of casting possibilities including smallgroup and whole cast scenes, choices of spoken or musical versions of scenes, andan instrumental accompaniment sound track.

In late November, before the candidates went on their second practicum, we heldtwo open auditions. The auditions were advertised to all teacher candidates in the pre-service program via posters, listserves, announcements at large-group lectures, andword of mouth. There were no requirements for auditioning; in fact, we stressed thatcandidates did not need to prepare anything in advance or have any theatre back-ground. The 35 candidates who attended the auditions were invited to play dramagames, improvise, act out a short scene from the play, and sing in small groups or indi-vidually. Casting the play after such brief experiences with the future performersproved challenging, but eventually all interested participants were given roles in thethree whole cast musical numbers as well as at least one role in a small group scene.The cast of the musical was composed of teacher candidates from across P/J and I/Sprogram tracks and included a wide range of experience with musical theatre, music,acting, or dancing. Some participants hadn’t been in a show since their Grade 3production of the Wizard of Oz while others had Fine Arts performance degrees andwere professional musicians and actors. We held one pre-rehearsal meeting prior totheir November practicum where we introduced the musical, listened to whole castnumbers, and arranged the winter rehearsal schedule.

Energized by the wellspring of interest and enthusiasm, we used December to planways that we could enhance the learning value of the musical theatre experience. Thisincluded the preparation of warm-up activities, drama games, rehearsal outlines, andsign-up sheets for leading warm-ups. In addition to performing on stage, we decidedthat it would be beneficial for cast members to participate in committees to understandthe behind-the-scenes work of putting on a musical. Rehearsals were deliberatelyplanned to balance artistic direction, collaborative decision-making, and opportunitiesfor cast members to contribute toward the development of all aspects of the produc-tion. Finally, an invitation was sent to seven local schools for students in Grades 7 to10 offering seats at the two daytime performances and a chance to participate in a

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musical theatre workshop led by the performers at no cost. Each of these ideasrepresented a different way to create an authentic learning environment that wouldpromote learning through the arts while also providing teacher candidates with artsskills for their future classrooms.

In January, whole cast rehearsals were held twice a week, for a total of sevenhours. In addition, the cast met outside of these rehearsals to work through their smallgroup scenes. We were amazed at how quickly the cast learned the choreography anddeveloped their scenes. Mounting a full-scale musical production in six weeks was anambitious task but the commitment of the cast members made the process possible.During the second week of rehearsals we initiated the production committees andinvited additional Bachelor of Education candidates and graduate students to help.Production committees covered aspects such as publicity, lights, sound, costumes,make up, fundraising, and front-of-house. We were fortunate to have a productionmanager who was primarily responsible for sound and lighting and was able to inte-grate these elements into our rehearsal process.

February show dates quickly approached; more hands were needed to help withproduction elements and many production decisions had to be made quickly at postrehearsal meetings. For example, our ideas of hosting the workshops at our faculty didnot logistically play out, so a willing group of performers went in advance to theschools to offer in-class workshops. The four shows occurred three days before thecandidates left for another practicum block. During that week, approximately 2000students, peers, friends, family, and community guests enjoyed watching 30 teachercandidates perform All I really need to know I learned in kindergarten.

Method

This phenomenological research used a two-staged qualitative methodology to docu-ment and analyze one musical theatre production mounted within a teacher educationprogram in Southern Ontario. Through an open call process, pre-service candidateselected to participate in various roles and aspects of the production. Data were collectedpost-production from 30 teacher candidates, who participated as actors and crew in themusical. Initially, data were collected through a post-production questionnaire and thenthrough three post-production focus groups. The goal of this two-staged design was tocreate a rich description of the experiences of participants. Responses from the ques-tionnaire served to guide the development of focus group questions and discussion. Allcast members were invited to participate in the study; however, participation was entirelyvoluntary. The study was cleared through the General Research Ethics Board at Queen’s.Each cast member was invited to participate in the study; however, participation wasvoluntary. All participants consented to have their data appear in this research paper.

A response rate of 63% (17 out of 30) was achieved for the questionnaire and 90%(27 out of 30) for the focus group stage. In total, the cast consisted of seven males and23 females; four males responded to the questionnaire and six participated in focusgroups. Based on questionnaire data, the vast majority of study participants werewithin the ages of 20 to 29 years. There was a near equal split between primary/juniorand intermediate/senior candidates, with three candidates enrolled in a specializedfocus program in arts education and one enrolled in a specialized experiential outdooreducation program. Undergraduate major field of study differed significantly acrossthe participants and ranged from psychology to theatre to mathematics and thesciences. Amount of previous theatre and musical theatre experience also differed

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across participants. Nearly half of the respondents had participated in between one tofour previous productions with the other half participating in 13 or more productions.Four participants indicated a middle range (5–12) of production experience. Of theseexperiences, seven indicated that they occurred in elementary or secondary schoolwith the majority of the remainder identifying multiple contexts for their previousproduction experience (i.e., community theatre groups, church, camp, or professional).94% of respondents indicated that their previous theatre experience was voluntary.

The post-production questionnaire consisted of 20 items that targeted variousaspects of participation, learning characteristics, and engagement. Questionnaire itemsincluded both closed and open response items and were administered one-weekfollowing the final performance. Focus groups were lead by moderators and occurredthree months after the show during candidates’ final on-campus block. Three focusgroups were conducted with nine participants in each. Questions for the focus groupscentered on the enduring effects and learning experiences derived from musicaltheatre productions and the benefits of engaging in a musical during a pre-service yearof study. All data were transcribed and analyzed using a standard deductive themeanalysis (Patton, 2002). Key themes for this paper were generated by a cross-codingprocess. This process uncovered themes related to engagement, authentic learningqualities, and arts-based learning objectives.

Findings

Five central themes emerged from the analysis of participant responses to the post-production questionnaire and focus groups. These themes include: (a) authenticity, (b)autonomy, (c) relationships, (d) reflection, and (e) vitality. The themes represent coreaspects of engaging in the musical theatre production as based on the participants’descriptions of their experiences. Each theme is described in detail below.

Authenticity

The authenticity, or realness, of the musical theatre experience was a central theme formany participants. Authenticity in process and production was thought to result fromovercoming challenges, connections to an outside audience, and creating a tangibleproduct.

Many of the participants discussed the challenges involved in the experience ofpreparing and performing in a musical theatre production during their Bachelor ofEducation year. However, as each challenge was directly linked to a purpose, partici-pants expressed that the end result was well worth the difficulties faced. One castmember stated, ‘it was such a big challenge but it was a fun challenge, everybody justmade it so worth it’. Not surprisingly, the most commonly mentioned challengeinvolved time management. Participants spoke of juggling their schedules and commit-ments between rehearsals, committee responsibilities, school assignments, and jobsearches. Many felt that participation in the musical helped place these life challengesinto perspective. One participant commented that the musical, ‘reminded me that themost valuable experiences in school is usually what happens outside of marks and classtime activities’. Another stated that, ‘I was able to prioritize what was really importantto me and my time here’. In addition to time, participants faced challenges that werehighly individualized and that changed throughout the production process. At thebeginning, participants described confidence and risk-taking as areas of concern:

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Another personal challenge was confidence. Because we were working with a group ofpeople that we didn’t know that well, and you don’t know what they’re thinking, whatthey’re bringing to the table, and what they’ve done before. You know that you want togive it your best and have fun with it but you’re still a person in a social group and youwant to make sure that you’re fitting in right and doing things the right way. And justhaving the confidence to say ‘yes, I can do this’ and have the confidence in your ownabilities was something that I had to work through. I was glad I stuck with that.

Some participants also spoke of the rigorous rehearsal process, the challenge ofputting on a production in six weeks, and many others mentioned that they struggledto find energy during the final week of performances. There were a few participantswho referred to difficulties with particular musical numbers. They noted that the speedand conciseness of the song, the unusual lyrics, and the tricky accompaniment allattributed to the challenge. One cast member described how during the rehearsalprocess she felt like the song wasn’t worth the struggle and that she couldn’t under-stand why everyone was working so hard on one number. Then she explained howeffective it was in the end:

That one song was, no matter what age the audience, the younger kids were like ‘whoaso cool’; and the older audiences could understand what went into it. So even though itwas such a challenge, it was definitely a very rewarding end product to see that it cametogether.

In the end, the participants felt that the individual and collective challenges wereworth the effort because of the connection to the audience and the outside world.

Connections to an outside audience were an integral component of the process.The cast was involved in all aspects of the production, including: advertising, sellingtickets, and preparing workshops for local students. Although these commitmentswere additional work for performers, they represented authentic tasks when mountinga musical. Limitations of budget, physical space, and equipment also contributed tothe authenticity of the experience. Solutions were frequently narrated by participantsduring focus groups. For example, they noted how they found costumes, devisedsimple sets, and obtained effective props with limited financial resources. Someparticipants described taking a number of buses around the city to locate and purchasedesired costumes and trying to fit furniture into small personal vehicles all ‘for thesake of the show’. What really stood out from the survey and focus groups was theimportance of working together to arrive at solutions because of the live audience.

The audience played a central role in creating an authentic musical theatre learningexperience. In addition, the school workshops facilitated connection with localstudents. One participant shared that knowing that the performances were the end goalmade the rehearsals even more exciting because ‘you’d see progress and you knewexactly what you were working towards’. Another explained:

We were working toward a goal that was really tangible. We do a lot of theoretical thingsin classes… but the musical was like we are actually putting on a show, we’re not imag-ining that we’re putting on a show. There are going to be real people in the audience andthat felt really good to be doing something that was like ‘OK, one day I might use this’.

Creating a final product that was shared with an audience of students, faculty, peers,and members of the community made the experience real for candidates. This authen-ticity increased commitment to the process and perseverance through challenges.

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Ultimately, the cast and crew expressed immense pride in creating a show that requiredcommitment to the process, attention to the craft, and perseverance to create an authen-tic piece of musical theatre.

Autonomy

Autonomy emerged as a theme when participants shared their experiences in therehearsal process, in their self-directed scenes, and in participation on various crewcommittees. The participants experienced different levels of autonomy in each ofthese experiences, which they linked to their commitment and success of the show.

Participants described that they always felt involved in the process and that this‘definitely added a personal investment to everything’. Cast members were regularlyengaged in discussion about choreography or musical choices in large-group numbers.Although a general vision was in place, direction on how to enact a scene or sing aparticular song was not only given by the directors but also by both cast and crew. Forexample, one participant described:

We were responsible for our scenes and for our lines, and yeah we had times when wewere getting checked up on, but it was ultimately up to us. We wanted to do it becausewe were part of a team. We weren’t doing it because we were told to.

Involving participants at individual and group levels within a broader collectiveprocess was one way of increasing autonomy.

With respect to the self-directed scenes, one participant commented that allowingeach group to ‘go off on their own and create their scene really allowed people to addtheir own artistic merit to the scenes… it really created a better experience for every-one’. This was echoed by another participant who explained that a feeling of owner-ship over the small scene groups was important. ‘I really enjoyed getting together witha bunch of people and trying to figure out how we were going to put together a songor a scene’. Structuring the cast to create small scene groups provided a way topromote autonomy and foster learning experiences among diverse individuals.

Cast members were also required to work on production committees, whichattended to non-performance aspects of the show. Participants commented that some-times these additional responsibilities felt overwhelming. One participant explainedthat at times it was difficult, and that she and her cast-mates felt the stress of every-thing that needed to get done: ‘Not only were we at rehearsals, but we were alsoexpected to be on committees… but then again by being on those committees, wewere totally taking ownership over the production and understanding how it all worksand what it takes’. The balance between autonomy and collaboration was sometimesdifficult for the participants. Overall, the committees were one of the ways in whichthe cast members formed relationships with one another and furthered their learningopportunities.

Relationships

Relationships is an encompassing theme that was woven throughout many of thedescriptions given by the participants. Of the participants who completed the on-linequestionnaire, all indicated that they felt a sense of belonging as part of the cast andcrew. In the focus groups participants explored the relationships they built during this

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production and how it shaped their experience in the musical and during their time asa pre-service teacher.

The sense of belonging that was described by so many participants was shaped bya number of factors. First, meeting twice a week for more than seven hours over a six-week period was important in forming meaningful relationships. One participantexplained that in the Bachelor of Education program, students don’t really have achance to form relationships. ‘People come and leave, go home on weekends… leavefor two months on practicum, so you don’t get a chance to form those connectionsbecause you don’t see anyone on a regular basis’. This was echoed by another whonoted that by ‘being in a group of people that is spending large amounts of timetogether and working towards the same goal, it’s so easy to sort of feel like you allbelong because you’re all striving for the same thing with similar levels of participa-tion’. Having an ongoing commitment that bridged professional and personal interestscreated a sense of belonging that extended beyond the musical experience.

Shared participation and teamwork were essential elements of the relationshipsthat were formed during the musical theatre process. One participant explained howshe was surprised to find that, even though the cast and crew were all so busy withschool work, job searches, and personal lives, everyone helped out so much, even onthe different committees. She expressed that it ‘was really nice to see people comingtogether and helping each together. The behind the scenes stuff you tend to forget morethan the on-stage and performance stuff, but that commitment and help from everyonewas really great’. This seemed to differ from experiences in classes where ‘eventhough you are sort of a team and you help each other out, it feels more individualized,like you’re all working toward your own goal’. Qualities of shared participation andteamwork were essential to forming positive relationships as a cast.

The sense of connection between cast and crew both during rehearsals andperformances also extended into other aspects of their BEd program, including theiron-campus courses. Of those who completed the questionnaire, all indicated that themusical led to a greater sense of connection to the BEd program and faculty in general.In particular, respondents agreed that the musical enhanced their learning in otheraspects of the pre-service program. Many focus participants also spoke of the musicalas an opportunity to meet people from different teaching divisions or areas. One inter-mediate/senior candidate noted that ‘this was the first and only time I had actually metP/J people’. This sentiment was echoed by others who explained how the cast andcrew came from really diverse groups. One participant described this phenomenon:

You’d walk down the hallway or Student Street after rehearsal and it wasn’t like you’dknow five people sitting in one corner, because they were all at your practicum school,it was like you would know one person in each group. And no matter what room youwalked in, there’d always be someone that you knew and so it seemed like DuncanMcArthur got a whole lot smaller… in a good way.

The inclusive nature of the musical theatre production was central to many of theparticipants’ comments. This inclusivity related to the notion of being yourself andbeing accepted. One participant told of his disbelief when he heard that everyone whowanted to participate would be cast in a role. He expressed his initial concern over acast where there were ‘people who had experience and people who had none at all,who were all there together from the start to the finish’. However, once engaged inthe process and production, he states that the experience went ‘nowhere but up’.Others described how their decision to participate was based on the ‘low pressure’,

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‘not too competitive’, ‘not talent-based’, and ‘fun’ approach to casting. One womanstated:

… let’s face it, I am 10 to 15 years older than my colleagues here, and never once did Ifeel like the old crow on stage… [before we started] I thought, ‘should I do it, should Inot’. I’m older, but it’s what I enjoy, and you know, never once was I made to feel likeI didn’t belong, I was just a peer.

The final quality discussed is a sense of equality that was fostered between allmembers and was discussed in the focus groups as an important aspect of building therelationships between the directors, cast and crew. One participant noted that everyonewas equal and described how ‘there wasn’t a single part that really stood out, therewasn’t one star. We all sort of shone’. This was echoed by another who shared thatshe really liked ‘how everyone was given roles that they would reach their potentialin, no matter if you had a theatre degree or if you were someone who hadn’t actedsince grade 7 or 8’. Another participant exclaimed ‘we all had leading roles!’ By cast-ing each performer in a significant role, an environment of appreciation and respectwas cultivated.

Reflection

All respondents of the questionnaire indicated that the musical experiences hadaffected other aspects of their life. The theme of reflection involves the ways in whichlearning in the musical impacted both the personal and professional lives of the partic-ipants. Professionally, the participants have recently completed their Bachelor ofEducation degree and most hope to find teaching jobs in elementary and secondaryschools. In describing this experience, one participant noted that ‘the production wasessentially a six-week, hands on learning experience’. Many expressed how they feelmore prepared to now assist and direct musical theatre productions in their ownschools. One participant shared she now feels prepared to involve her future studentsin musical theatre. She said, ‘it seemed like something that I could actually do, I couldactually use this and do it in a high school with students’. In reference to the chal-lenges faced in producing a musical, another noted that she could ‘just imagine [thechallenges] happening to me when I’m a teacher putting on a show’. Others spoke ofhow they had already stepped up to help in local schools with upcoming productions.‘I just hopped right in there and said how can I help? It was a lot of fun, and great tobe able to take some of the skills I learned and put them to work’. Participants articu-lated ways that they could use the musical experience in future arts-related profes-sional opportunities.

Other participants spoke of how they could take the skills that they developedthrough this experience and transfer them into their classrooms. For example, oneparticipant explained how he intended to use the physical and vocal warm-ups withhis students in high school math and computer science classes. Participants sharedtheir ideas about the qualities of arts-based learning and mentioned characteristicssuch as ‘fun, engaging, stretching, invigorating, empowering, exciting, uplifting,inclusive, and exploratory’. Many discussed how they could infuse the qualities ofarts-based learning into their own classrooms by creating a safe place where students‘feel comfortable taking risks and letting themselves be known in the class’ and byproviding opportunities to stretch, and ‘go above and beyond’. Others shared their

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belief in the importance of learning by doing and providing students with authenticlearning experiences. These were linked to increasing student engagement and moti-vation. In addition, candidates commented that laughter and fun were essential forgood teaching and learning and that these qualities were encouraged through arts-based activities.

In reflecting on the impact that the musical theatre experience had on theirpersonal lives, participants shared an overwhelming and increased appreciation for thearts. Many indicated that they plan to seek out opportunities to be involved in arts-based activities in the future, whether on stage, in crew positions, or as audiencemembers. This finding was true for those who were previously and professionallyengaged in theater experience as well as for those who had not been in a productionsince elementary school.

Some participants spoke of attending performances since the end of the productionand how they noticed so many more details than they had in the past. One expressedthat in going to performances now, she appreciated ‘the staging, the choreography,and the lighting’. She acknowledged that she was able to identify the artistic elementsand have a better sense of the work that goes into such a production.

Many participants also shared that they have become more willing to go out andseek opportunities to get on stage. One participant shared how this experience hasmade her ‘realize that you can take up something new as an adult’. She had always‘assumed that any role in a musical or a play is for people who’ve been doing itforever’. But she had never really thought that she could try musical theatre as anadult. Another cast member said, ‘I have never done musical theater in the past, butnow I am hooked! I am already looking into community theatre groups and upcomingauditions’.

One participant who has considerable experience backstage, directing, and produc-ing explained that as a result of the musical experience she is going to make an effortto be onstage outside of her school commitments. ‘I’m going to find communitytheatre to keep my love of theater alive because I’d kind of forgotten that. It reallyadds to the richness to the other things that I can do if I’m living it on stage as well’.This sentiment was echoed by another participant:

I think for me it’s been so long since I’ve allowed myself the luxury of having the artsin my life it’s re-sparked that in me and ultimately I’m a better person, a better mom, abetter wife, a better educator when I keep that part of myself full. So for me if that meansjoining the church choir when time permits or joining my local theatre… it’s making surethat I do some arts-based program – that I take care of myself with the arts.

Others spoke of the importance of taking time for themselves, outside of their roleas educators. One participant explained that ‘one thing I’ve learned about teaching isthat I need to have a life outside the classroom, or else I’m not bringing anything intoit’. These reflections demonstrate how authentic arts-based learning can impactteacher candidates in both professional and personal ways.

Vitality

From the musical experience, nearly all cast members commented that they gainedenergy, enthusiasm, and joy. We described these qualities as vitality. One participantcommented that:

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… the richness of this experience, the fun, the joy, the belonging… what you get from itis so much more than you put in. You do put in a lot, a lot of time – it’s a big commit-ment, but what you get is so much more.

There was much laughter in the rehearsals. The positive energy and enthusiasmprovided a space where the cast members could come to ‘get that release’ and ‘beridiculous together’. During focus groups one participant noted that rehearsal wasvital for her during January and February, both as a ‘creative outlet and an energyoutlet’. Another explained that it was a space ‘to be free, creative, quirky, and to basi-cally be myself’. These qualities are encapsulated by one participant who explainedthat she was feeling ‘artistically vapid before the musical and it gave [her] a chance todo what [her] soul craves’.

Many spoke of how the musical process helped them to create a more meaningfulpre-service teacher year. One participant commented on how the musical made the sixweek timeframe, ‘which at the outset looked long and dark and tedious, not only toler-able, but absolutely enjoyable’. Another performer explained that:

Being part of the musical has transformed my experience of pre-service education. Itmade the six weeks on campus enjoyable, gave me something to look forward to, andleft me with a feeling of accomplishment and empowerment to try this on my own.

This was echoed by others who noted that ‘rehearsal was a highlight of my day. Ithought about it during my classes and I just loved coming to rehearsals’. The rehears-als made people feel alive, they created a place for exchanging ideas, sharing energy,and taking risks.

Some participants spoke of the giving and receiving of energy in both the rehears-als and performances. In describing the rehearsals, one participant explained that evenif you’re having a bad day ‘when you’re there with everybody you can sort of drawfrom everybody else’s energy and you can get into that spirit. [Every rehearsal] we gotthe chance to come together as a whole cast each time and start off on the right page’.Another explained that ‘without the musical I would have been more stressed out’.Although the musical experience was stressful at times, it also provided a place awayfrom other stress.

The five themes identified in the data present core aspects of authentic arts-basedlearning. In the following section, we connect these to teacher education and in partic-ular assert this form of learning as one means to address some of the challenges facingpre-service preparation. In addition, we identify continued areas of research that willhelp inform the practice of authentic arts-based learning in teacher education.

Discussion

In this paper we have used a pedagogical framework of authentic arts-based learningto examine a musical theatre experience in a teacher education program. Through thisanalysis, we have demonstrated that the integration of authentic engagement withqualities of arts-based learning presents a pedagogy that is consistent with the princi-ples and aims of teacher education. Authentic arts-based pedagogy is premised on anunderstanding of the interconnected aspects of relationships, purpose, and modeling.

Relationships is a broad category that underscores the value of connectionsbetween people and ideas within a specified context. The arts emphasize the qualita-tive nature of these relationships and draw attention to the nuances embedded within

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this form of knowing. In this framework, relationships imply recognition of sociallearning that values multiple ways that we come to know, both as individuals and ingroups, with a collective purpose (Eisner, 2002b). Through this musical theatre expe-rience, relationships emerged within the cast and beyond – with other teacher candi-dates, faculty, and graduate students, as well as the broader community. Within thepre-service program, these relationships transcended traditional curricular and divi-sional boundaries and brought a sense of community to the faculty. Due to the datacollection timeframe, the enduring effects of these relationships are yet to be known;however, it is evident that the candidates experienced a sense of connection whilecompleting their pre-service program and indicated that they intend to pursue relation-ship building through authentic and artistic forms in the future. Further research issuggested to examine the long-term implications, both professionally and personally,of engaging this pedagogical framework.

The second major quality of an authentic arts-based pedagogy is purpose. Throughour musical theatre experience, candidates were engaged in a real-world situation thatconnected the practice of teaching and learning with a tangible end-product for aspecific audience. Further, candidates were able to negotiate challenges and multiplepurposes, including those pre-set and those that emerged throughout the process,while maintaining a high commitment to the production. Indeed, this pedagogicalapproach seemed to address disengagement amongst teacher candidates and provideda context of active, committed learning. We suggest that such a pedagogical approachbe considered in other domains of inquiry and disciplines related to teacher education.

Ultimately, we feel that an authentic arts-based pedagogy models effective teachingand learning by working within Loughran’s (1997) understanding that modeling isabout creating conditions for knowledge making and moving toward new ways of beingin this world (Ellsworth, 2005). Specifically, we assert that such experience should becollaborative and highly participatory. Candidates should be given autonomy to makedecisions that hold impact in their learning and in the generation of an authentic prod-uct. Further, and perhaps of most importance to this experience, is that the candidatestook risks to learn in different and creative ways. Loughran writes that ‘learning aboutteaching requires a pushing of the boundaries in order to encourage seeing and under-standing from a variety of vantage points’ (p. 63). However, if we want candidates totake risks in their learning then we must provide a safety net. Teacher educators mustcreate conditions where candidates feel physically, cognitively, and emotionally safe,and where candidates feel a sense of inclusivity and belonging. Within these conditionsand when candidates achieve success through risk-taking, there is potential for thevitality and flow of emotion that Eisner (2002a) described.

This study provided a site to discover that in authentic arts-based experiences theway we teach is the message (Russell, 1997). Authentic arts-based learning leads tonew ways of thinking about teaching and learning as well as ways of engaging inlearning to teach. In addition to building and developing skills, authentic arts-basedlearning provides a site for individual and collective learning that encompasses bothpersonal and professional growth. These new developments in teaching and learningcan have positive impacts in educational contexts well beyond pre-service programs.

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