Kia ora and welcome to the June edition of our newsletter. Term 2 has been a busy term, but the holiday break is just around the corner. Why not take some time in the break to submit your views on the NCEA Review? Don’t forget to let your students know about the Make Your Mark competitions – there are prizes to be won!
Our editorial feature in this edition is from our Dancenet facilitator, Patrice O’Brien. Patrice shares her reflections on what motivates students when participating in dance events.
If you have something to share, or would like to contribute to the editorial, please contact any one of our friendly facilitators. They would love to hear from you.
Editorial: Student motivation between competitive and non-competitive dance events
Recently, more than 20 schools and youth dance companies in Auckland gathered together over three nights to present dances performed by their 16 to 18 year old students. Many of these dances were also choreographed by the young people.
This in itself is not unusual. What is unusual is that this was a festival, not a competition.
Generally when schools come together, it is to compete against one another. For example, we have sports competitions, choir and band competitions, chess competitions, debating competitions, and dance competitions. And out of these competitions we produce winners – and losers - and not a lot of community feeling.
Research suggests that non-competitive events might have some advantages over competitions. A meta-analysis of 148 studies (Roseth, Johnson, & Johnson, 2008), comparing the effectiveness of competitive versus cooperative goal structures for adolescents, indicated that both higher achievement and more positive peer relationships were associated with a cooperative approach to learning and a sense of community.
For community to develop, participants have to experience a sense of belonging. Evaluation comments from young participants to the question -
What will you remember most from YouDance included:
meeting new people
different schools coming together and forming an incredible bond.
meeting other schools and sharing each other’s art.
These comments suggest students experienced a sense of belonging.
When asked about the difference between YouDance and dance competitions, students commented:
it doesn’t feel like a competition and there’s no hate between schools
everyone is ONE – there is no negative competition vibe
you don’t feel as if you have to be better and beat the other groups.
YouDance festival also celebrates diversity. There is a deliberate policy of promoting the development of community among young people from different schools, different dance groups and different parts of the city. In YouDance, students perform in a real theatre with excellent lighting and sound and with the support of professional technicians. This promotes the idea that the work of these young people is valued. Valuing participant contributions is important to building community.
YouDance embodies Clark’s (1973) principles of community which is achieved in a safe non-competitive environment. Competition is not needed to motivate students, and there are no winners or losers.
What a shame that some of the funding recently given for dance competitions was not available to support non-competitive festivals throughout the country.
Professional Teaching Fellow
School of Curriculum and Pedagogy
Faculty of Education, University of Auckland
The NCEA Review is of particular interest to music education as it not only affects secondary school teachers, but also the itinerant teachers of music (ITMs) that provide tuition on instruments. Over 6 NCEA credits at Level 1, and 12 at Levels2 and 3 are often taught by these ITMs. Many ITMs are involved in marking and help moderate NCEA assessments. Including these stakeholders in the review is vital to ensure a robust consultation.
Another successful partnership between the NZ Music Commission and MENZA took place for NZ Music Month with the annual Hook-line-and-sing-a-long competition. School students from around New Zealand submit original songs to be selected as the national winner and be professional recorded in Auckland. This year’s winner is called “The Smell of Sunscreen” from James Constable of Rangiora High in Christchurch. You can watch it here with words, chords and sign language.
From NZQA: earlier this year, clarification documents for the following standards were updated at level 2; 91213, 91214, 91217, 91218. At level 3; 91512, 91513, 91515, 91516 and 91517. These standards have been updated to address issues that have arisen during moderation. It is important that teachers consult this material when assessing these standard in the 2018 assessment year. The clarifications can be found on the NZQA Drama subject page.
This year NZQA announced the review of Latin and Sculpture as Secondary Scholarship subjects due to the declining numbers of candidates, making national news in this Radio New Zealand morning report. The past few months have subsequently seen Visual Arts teachers across the country band together. Through the Arts Online forum and online in wider association and Facebook groups, they have been sharing opinions and viewpoints about what makes this subject unique. This has informed their written submissions to NZQA supporting the retention of Sculpture as part of the Scholarship subject cohort.
This month the art community farewells another icon with the news of the passing of Milan Mrkusich at the age of 93 in this Herald article and video. A pioneer of abstract art in New Zealand, he was proud of his influence on young struggling artists.
This Stuff article highlights the declining funding for regional arts organisations in New Zealand resulting in some sad closures of providers.
Milly Paris reflects on the joy of collecting art in this article as she prepares to sell more of her New Zealand art collection and move closer to family.
The DSANZ AGM is in Adelaide 8-13 July during the daCi / WDA Joint Dance Congress, Panpapanpalya. This will be a great opportunity to wave the dance in education flag proudly for Aotearoa.
PD Opportunity for 2019 - Study Tour of Italy and the Venice Biennale: 12 day tour from Venice to Milan in September.Further details to be posted later but the itinerary can be found here. For anyone wanting to stay for a further 10 days contact - Samantha Barrett.
Professional Development - NZAHTA Conference Day – Auckland: a conference day facilitated by the NZ Art History Teachers’ Association is planned for Friday 24 August in Auckland. Details of the programme will be posted on Arts Online as they become available.
Brahms' Wiegenlied/Cradle Song has been performed especially for Prime Minister Jacinda Ardern's new baby in German and Te Reo Māori. Watch the video in this TVNZ News article and video
Catch up on recent art news by subscribing to Artnet News - covering important art news in summaries like this
If you missed this Ted X video ‘Mana - the power of knowing who you are’ Tama Iti, political activist, delivers a speech which could easily be related to his art practice and other political artists challenging the ‘mana’ of authority.
A Culturally Responsive Approach to Rehearsals in the Drama Classroom: in this article from the annual New Zealand Journal of Research in Performing Arts and Education 2017, we’re pleased to highlight the work of former Arts Online Community Facilitator for DramaNet, our colleague, Nick Brown, and his model for inclusive and culturally responsive ways of working in the drama classroom; particularly with regard for rehearsal and production processes when producing work for performed productions.
These are being released under the RemArc licence, which means that they can be used for “personal, educational or research purposes”. The archive is easily searchable and there’s a wide variety of content, ranging from the atmospheric to the downright obscure. Each sample can be previewed and both its duration and filename are listed. The service is currently in beta, but you can dive in and start downloading right now on the BBC Sound Effects website.
Music Video: in March, WOMAD18 was held in New Plymouth. One of the highlights was Violons Barbares. Here, they perform 'Krushoritza' especially for Radio NZ Music. The group are from three vastly different cultural backgrounds: Bulgaria, France and Mongolia.
Level 3 – Area 1 – Early Renaissance: Piero della Francesca: A quiet revolutionary – The Baptism of Christ: fascinating and very detailed commentary from Caroline Campbell, Director of Collections and Research at the National Gallery in London on this famous painting by Piero.
Secret Symbols in Still Life Paintings: still-life painting has existed since time immemorial and offered us some of the most sublimely beautiful painting in art history. Although often dismissed, this genre often contained messages of moral contemplation, scientific study and a reflection of life itself.
The New Toi Art Gallery at Te Papa has so much on offer for everyone with new spaces and interactive site-specific artworks as well.
Matariki events are currently on nation-wide, including public artworks like those in the Waituhi 2018 in Wellingon, especially created for the celebration.
The 9th International Drama in Education Research Institute -“Tyranny of Distance” 2-9 July, 2018. “The phrase ‘tyranny of distance’ reflects the argument that this region’s geographical remoteness, from its colonisers and other sites of power in the northern hemisphere, has played an important part in shaping its history, culture and identity”. Go to their registration page here, and view the programme for the week here.
Thought of You - by Ryan Woodward is an animated dance to the song World Spins Madly On, by The Weepies. It is great for teaching about curved body shapes and movement or how to express emotion through a dance.
The Moment that Changed Picasso: in 1906, Picasso spent ten weeks in the ancient Catalan village of Gosol, described to him by a friend as a ‘mountain refuge’. In this self-imposed exile from the backbiting Parisian art world, Picasso changed his art dramatically.
A framework for transforming learning in schools: Innovation and the spiral of inquiry’ :Spiral Inquiry Framework - this paper by Helen Timperley, Linda Kaser and Judy Halbert titled, available from the Education Council website, supporting teacher appraisal and professional learning, unpacks the inquiry model which emerged after on-going development and revision of the NZC’s teaching as inquiry cycle took place as part of work, following the Best Evidence Synthesis on teacher professional learning was published.
Using Process Drama to Expand the Literacy Programme – an exemplar: published just last year by the NZCER, the book and supporting DVD, “contains the tools to develop and extend your literacy programme through process drama pedagogy, featuring a video exemplar and workbook”. Preview and purchase here.
Process Drama as a Form of Cooperative Learning: Maša Jurinović, Croatian Journal of Education, 2016. From the abstract: “This paper posits a theory that process drama is a form of cooperative learning because the important characteristics of process drama and cooperative learning overlap. Therefore, their common characteristics will be listed, compared and explained using a comparative method”.
Twenty Curators Take a Cutting Edge Approach to Art History: at museums, curators do much more than put together enticing selections of objects. Yes, they’re charged with choosing the art that we see and the way we see it, but they’re also guardians of cultural heritage; experts in niche pockets of art history.
How Art Museums Can Remain Relevant in the 21st Century: what institutions hang on their walls or put on their pedestals is a clear articulation of who they imagine their audience to be,” writes Aruna d’Souza in a new book, Whitewalling: Art, Race & Protest in 3 Acts, which asserts that American art institutions have long centered on whiteness, or catered to white audiences.
Drama Level 2 Lighting Study Resource: this resource contributed by Leigh Sykes, supports students (and teachers) working towards the Level 2 Unit Standard 'Demonstrate and apply knowledge of stage lighting design and process for a performance context'. This resource was adapted from a resource that was shared by a DramaNet user.