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The subjectivities of teaching artists working in Singapore schools
Author
Toh, Yiling
Supervisor
Wales, Prudence Ellen
Abstract
This thesis examines the subjectivities of a group of teaching artists specialising in theatre in Singapore. It is a qualitative study that focuses on the ways in which teaching artists describe and define themselves within the education system. This study is concerned about teaching artists’ perceptions of self and the way in which these perceptions influence their teaching practice. This thesis provides a lens into the diverse, shifting and conflicting subjectivities of the participating teaching artists.
The study took place in three phases. In phase one individual interviews with three teaching artists were conducted. In phase two data from the interviews were analysed and these initial findings informed the content of an ethnographic performance. In the third and final phase, the ethnographic performance was presented to the community of teaching artists and post-show discussions were held as a method to gather a second round of data. The ethnographic performance was a medium to reach out to the theatre and drama education community and engage them in dialogue. This study found presenting data through ethnographic performance to be an effective and powerful means to share research findings. The thesis draws out the processes of transforming ethnographic data into an ethnodramatic script and examines the patterns that emerged from both sets of data.
The findings suggest that the constitution of teaching artists is closely bound up in the personal as well as external social and political influences. The values, attitudes and perceptions of the participating teaching artists is centred upon aspects of their artistic life. However the teaching artists’ self perceptions are susceptible to conflicting interpretations of the artist and teacher role. Most of them held prescribed role perceptions based on memories and discourses from various sources. The teaching artists negotiate a range of identities, personas and roles as they undergo an evolving identification process with the teacher role. There are often different mindsets between teaching artists and schools. The participants find that the expression of their artistic identities is contested by the culture of power hierarchy and performance-based systems operating within schools. Their subjectivities are defined and redefined by varying systems of ideology and power, thus producing conflicting versions of selves. It can be a challenge to work across the differences to facilitate strategies for teaching artists. Moreover the data suggests that institutional support is inconsistent and unstable, teaching theatre artists are not positioned at the center of learning and they still stand separated from the main curricula. The closing reflection propose for institutions and teaching artists to step out of limiting impervious perceptions and take on new possibilities to look at teaching artists’ presence in schools. It can be a challenge to work across the differences to facilitate strategies for teaching artists. Moreover the data suggests that institutional support is inconsistent and unstable, teaching theatre artists are not positioned at the center of learning and they still stand separated from the main curricula. The closing reflection propose for institutions and teaching artists to step out of limiting impervious perceptions and take on new possibilities to look at teaching artists’ presence in schools.
The study took place in three phases. In phase one individual interviews with three teaching artists were conducted. In phase two data from the interviews were analysed and these initial findings informed the content of an ethnographic performance. In the third and final phase, the ethnographic performance was presented to the community of teaching artists and post-show discussions were held as a method to gather a second round of data. The ethnographic performance was a medium to reach out to the theatre and drama education community and engage them in dialogue. This study found presenting data through ethnographic performance to be an effective and powerful means to share research findings. The thesis draws out the processes of transforming ethnographic data into an ethnodramatic script and examines the patterns that emerged from both sets of data.
The findings suggest that the constitution of teaching artists is closely bound up in the personal as well as external social and political influences. The values, attitudes and perceptions of the participating teaching artists is centred upon aspects of their artistic life. However the teaching artists’ self perceptions are susceptible to conflicting interpretations of the artist and teacher role. Most of them held prescribed role perceptions based on memories and discourses from various sources. The teaching artists negotiate a range of identities, personas and roles as they undergo an evolving identification process with the teacher role. There are often different mindsets between teaching artists and schools. The participants find that the expression of their artistic identities is contested by the culture of power hierarchy and performance-based systems operating within schools. Their subjectivities are defined and redefined by varying systems of ideology and power, thus producing conflicting versions of selves. It can be a challenge to work across the differences to facilitate strategies for teaching artists. Moreover the data suggests that institutional support is inconsistent and unstable, teaching theatre artists are not positioned at the center of learning and they still stand separated from the main curricula. The closing reflection propose for institutions and teaching artists to step out of limiting impervious perceptions and take on new possibilities to look at teaching artists’ presence in schools. It can be a challenge to work across the differences to facilitate strategies for teaching artists. Moreover the data suggests that institutional support is inconsistent and unstable, teaching theatre artists are not positioned at the center of learning and they still stand separated from the main curricula. The closing reflection propose for institutions and teaching artists to step out of limiting impervious perceptions and take on new possibilities to look at teaching artists’ presence in schools.
Date Issued
2016
Call Number
PN2075 Toh
Date Submitted
2016