Alisha Rasmussen - 19059378 - Researching Teaching and Learning 2 Assessment 2
Alisha Rasmussen - 19059378 - Researching Teaching and Learning 2 Assessment 2
Alisha Rasmussen - 19059378 - Researching Teaching and Learning 2 Assessment 2
Overarching question: ‘How can teachers improve student engagement based in the
classroom?’
Part A
Introduction
An area of focus and improvement for teachers could be ‘how can teachers improve student
engagement based in the classroom?’. For students to engage in classroom learning and to
expand their existing knowledge, teachers can discover and analyse key research studies. A
subtopic area involves ‘how creative pedagogy effects student engagement in secondary
education’. Studies based on creative pedagogy exposes an approach that which explores
various types of student engagement. These studies demonstrate applications and restrictions
research themes and suggest an improvement in key teaching skills. Furthermore, these
Creative pedagogy
Creative pedagogy can be defined as integrating both key concepts of the arts and classroom
teaching and learning (Grant, Hutchinson, Hornsby, & Brooke, 2008). Furthermore, creative
pedagogy encourages student expression, originality (Das, Dewhurst, & Gray, 2011),
imagination and creative thinking (Cremin, 2015). Therefore, a valued purpose for creative
pedagogy is for teachers to increase creative thinking and expression in students (Lin, 2011).
Creativity in education is often disregarded and labelled unimportant (Selkrig & Keamy,
conflict with one another (Hughes, 2014), however; Selkrig and Keamy (2017) note that “a
students. Furthermore, teachers who effectively teach creative pedagogy enhance the
suppress imaginative thinking and are, therefore; unwilling to make “intellectual risks”
(Muirhead, 2011). Creative pedagogy is a “high-impact practice” (Bell, 2017), but can
additionally refine problem solving and complex-levelled thinking skills (Lin, 2011).
Furthermore, a teacher who emphasises a value for creative exploration and problem solving
develops students’ motivation, educational risk taking and student resilience (Das, Dewhurst,
& Gray, 2011). Thus, creative pedagogy is a powerful tool to engage students in the
classroom for personal and educational purposes. Jean Piaget himself states the main purpose
of education is to produce “men [students] who are creative, inventive and discoverers” (Tan,
2018). Literature also suggests that creativity lacks inspiration when education mainly
& Narayan, 2014). Cochrane, Antonczak, Keegan, and Narayan (2014) suggest an improved
requires reflection and “collaborative learning”. Thus, creative pedagogy requires student
Harris (2011) states teachers effect the engagement levels of students. Studies show students
whose families are of low socioeconomic backgrounds and students from minority groups are
behavioural and emotional engagement are two specific ways students engage in the
classroom (Uden, Ritzen, & Pieters, 2013). Behavioural engagement relates to student
participation, punctuality, and level of commitment to school assessments (Uden, Ritzen, &
excitement to attend school and optimistic learning views (Uden, Ritzen, & Pieters, 2013). In
doing so, the teacher is responsible for influencing student education views (Harris, 2011).
This process commences when the teacher is aware of their personal views of student
Salient themes in creative pedagogy research involve: teacher and student creativity (Russell,
2015), expression (Das, Dewhurst, & Gray, 2011), student engagement (Uden, Ritzen, &
Pieters, 2013), student learning and achievement (Tan, 2018). Furthermore, trust is
imperative in secondary education and must be present between teacher and student to
increase student engagement. “Trust is a little like air—you don't think about it until it is
scarce or absent” (Hoy, 2016). Additionally, trust must be placed in research to discover key
themes and improvements for creative pedagogy. Furthermore, Tan’s (2018) definition of
creative thinking is a process of idea generation and expression. Therefore, highlighting the
key research themes in creative pedagogy. Lin (2011) identifies previously mentioned
teaching for creativity, and creative learning”. These three areas support and integrate among
one another, and thus; are a result of one another (Lin, 2011). Furthermore, Selkrig and
Keamy (2017) argue that teachers must know “how to teach creatively and for creativity”. A
teacher who applies this research will also implement academic optimism, which refers to a
school faculty who adheres to a shared confidence to create a positive impact on student
learning and inspire student success (Hoy, 2016). As this research demonstrates, creative
throughout creative pedagogy studies. Thus, these salient themes will inform further research
One main complication in assessing key applications for creative pedagogy is separating
student knowledge from teacher knowledge (Russell, 2015). This can seem impossible as the
teacher does not educate outside their own knowledge and would, therefore; reflect their
learning is a key concept of the arts. Studies show positive learning is deeply integrated in
creative pedagogy (Das, Dewhurst, & Gray, 2011). Although some studies suggest creative
thinking cannot be measured by standardised testing and assessment, other studies contradict
these statements. In fact, results show despite student socio-economic background, students
experience higher success rates compared to those who do not, or rarely, partake in creative
Studies based on creative pedagogy compliment ways in which students are involved in
classrooms. This relates to the main focus area of student engagement in secondary
education. Therefore, the studies and literature review from creative pedagogy relates directly
to the overarching research question of ‘how can teachers improve student engagement based
in the classroom?’. Additionally, the research is based on “teachers’ beliefs and intentions”
which impact student ways of engagement in the classroom (Uden, Ritzen, & Pieters, 2013).
The subtopic would stem off the overarching question as key themes of creativity, expression
and engaging students are researched. Furthermore, creative pedagogies provide various
Antonczak, Keegan, & Narayan, 2014). Thus, the subtopic of research offers choice and
freedom to study teachers and students from diverse backgrounds (Muirhead, 2011).
Although creative pedagogy is based on values from the arts, the pedagogy is applicable to
various subjects offered in secondary education. For example, “voice, music [and] instrument
can be integrated into class content as a form of expression” and therefore; can be applied in
any subject (Das, Dewhurst, & Gray, 2011). Furthermore, creative pedagogy can affect
student engagement in numerous ways. This means the researcher is provided with a range of
possibilities to choose from and discovery can be original. The overarching research question
becomes a guide for the subtopic, and creative pedagogy can then be studied as a “theoretical
Conclusion
In summary, if teachers integrate creative pedagogy into the classroom, teachers will
encourage student behavioural and emotional engagement in secondary education, and thus;
Part C
When conducting research, the researcher must plan with care and consideration in order to
collect quality and reliable data. The researcher must have reasons for decisions, relate the
Designed protocol
conducted in various ways. Some ways include face-to-face, through technology (Skype,
messenger, phone etc.), in groups and even focus groups (Bolderston, 2012). Before the
research interviews are conducted, the researcher must provide the interviewee with an
information sheet, as well as a consent form (Arsel, 2017). Arsel (2017) states that a
researcher who provides consent forms before the interview conduction reduces “ethical
6 – Interview Forms), 3. consent forms (Appendix 2 and 4 – Teacher and Student forms), and
interview was chosen as the protocol requires a break down in coding and assessing salient
themes for further research (Arsel, 2017). The opening questions were chosen to increase
rapport between the interviewee and the interviewer (Arsel, 2017). The small talk gives the
researcher an insight into personal qualities and characteristics (Arsel, 20117). Although
mostly open-ended questions were used in the protocol, these questions are prompts to
discuss desired ideas by the researcher (Bolderston, 2012). Interviewers require certain skills
to draw out valuable information. For example, there are three main types of interviewees: 1.
Dominant talkers, 2. Shy talkers and 3. Ramblers (Bolderston, 2012). Each interviewee type
requires different approaches to keep the relevant discussion proceeding. Dominant talkers
require less eye contact and a refocus in discussion (Bolderston, 2012). Shy talkers require
subtle encouragement and ramblers less eye contact (Bolderston, 2012). In saying this, the
researcher must be aware to not seem uninterested but must seem focused on the relevance of
information. The interview protocol questions contain room for strong probing questions and
The interview protocol concentrates on two areas of focus, creative pedagogy and student
engagement. The interview questions were based on the previous creative pedagogy literature
review and explores the individual narratives of the participants (Arsel, 2017). The aim of the
interview is to deconstruct creative pedagogical and student engagement views from teachers
and students (Arsel, 2017). In doing so, the overall topic of improving student engagement
literature review. In saying this, the interview relies on the literature review to guide the
interview to relevance and valued data by adapting the protocol to suite the research question
(Bolderston, 2012). Thus, the interview protocol is a creation caused by the integration of the
creative pedagogy literature review and the goal to answer the overarching research question.
Therefore, researchers who explore the possibilities of sub-topics create room to discover
Arsel, Z. (2017). Asking Questions with Reflexive Focus: A Tutorial on Designing and
doi:10.1093/jcr/ucx096
Bell, S. (2017). High Impact Creative Pedagogy Using a Maker Model of Composition. The
Journal of Faculty Development, 31(1), 19-24. Retrieved September 12, 2018, from
https://search-proquest-
com.ezproxy.uws.edu.au/docview/1907273757/fulltext/3781E535DEA84CF3PQ/1?ac
countid=36155
Cochrane, T., Antonczak, L., Keegan, H., & Narayan, V. (2014). Riding the wave of
Csikszentmihalyi (Jackson et al., 2006) put it this way to show the altered status of creativity:
“In the Renaissance creativity might have been a luxury for the few, but by now it is a
Das, S., Dewhurst, Y., & Gray, D. (2011). A Teacher's Repertoire - Developing Creative
Pedagogies. International Journal of Education & the Arts, 12(15), 1-39. Retrieved
https://www.researchgate.net/publication/236859758_A_Teacher's_Repertoire_-
_Developing_Creative_Pedagogies
reading and writing. La Trobe University Faculty of Educatio, 7(1), 57-72. Retrieved
http://education.waikato.ac.nz/research/files/etpc/2008v7n1art4.pdf
doi:10.1016/j.tate.2010.09.006
Hughes, D. (2014, April 01). Dwelling as an approach to creative pedagogy. Art, Design &
Russell, F. (2015). Slave to the Rhythm: The Problem of Creative Pedagogy and the
Selkrig, M., & Keamy, (. K. (2017). Creative pedagogy: A case for teachers’ creative
doi:10.1080/10476210.2017.1296829
https://www.researchgate.net/publication/323511540
perceptions of student engagement and their beliefs about being a teacher. Teaching
Western Sydney University. (n.d.). Research Forms. Retrieved September 30, 2018, from
https://www.westernsydney.edu.au/research/forms
Witschey, J., Murphy-Hill, E., & Xiao, S. (2013). Conducting Interview Studies: Challenges,
org.ezproxy.uws.edu.au/stamp/stamp.jsp?tp=&arnumber=6618471
☒ Participating in an interview
I acknowledge that:
• I have read the participant information sheet (or where appropriate, have had it read to
me) and have been given the opportunity to discuss the information and my child’s
involvement in the project with the researcher/s
• The procedures required for the project and the time involved have been explained to
me, and any questions I have about the project have been answered to my satisfaction.
I consent for my child to:
☒ Participating in an interview
Signed:
Name:
Date:
Questions: Themes:
Tell me about yourself…
Do you think this belief affects the way you teach students?
How can you tell if a student or students are disengaged in the classroom?
Do you implement creative activities in the classroom? If so, how? If not, what
kind of activities do you implement in the classroom?
EXTRA NOTES:
Questions: Themes:
Tell me about yourself…
Do you think this belief affects the way you participate in class?
How can you tell if a student or students are disengaged in the classroom?
What makes it easier for you to engage yourself in the classroom? What makes a
lesson interesting? Why? What affects (if any) does this have on your learning?
Have you participated in creative classroom activities? If so, how did this make
you feel?
Do you think creative classroom activities effect your learning? How? Why?
EXTRA NOTES: