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Participatory Arts for Creativity in Education (PACE) Model: Exploring the Participatory Arts As a Potential Model for Fostering Creativity in Post-Primary Education

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Participatory Arts for Creativity in Education (PACE) Model: Exploring the Participatory Arts As a Potential Model for Fostering Creativity in Post-Primary Education Participatory Arts for Creativity in Education (PACE) Model: Exploring the Participatory Arts as a Potential Model for Fostering Creativity in Post-Primary Education Irene White BA, H.Dip.Ed, MA Thesis presented to Dublin City University for the award of PhD Supervisor: Professor James O’Higgins Norman School of Human Development Dublin City University January 2020 DECLARATION I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of PhD is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ID No: 13213128 Date: 8 January 2020 Acknowledgements My thanks to all the participants -the students, teachers, school principals, tutors, writers, theatre practitioners and artists- who contributed to this study. Their openness and generosity are much appreciated. Thanks to my supervisor Professor James O’Higgins Norman for his support and advice in the latter stages of this research; to my former supervisor Professor Gerry McNamara for his guidance in the early stages of the journey; and to Dr. Francesca Lorenzi, panel member, for her support and collaboration on two of the publications in this research. I am grateful for the many opportunities that have come my way in DCU, not least the opportunity to complete this PhD research. Sincere thanks to all my colleagues across the university who helped me along the way, most especially to Dr. Charlotte Holland, Dr. Majella Mc Sharry and Fiona Gallagher for their kind support and encouragement. Finally, heartfelt thanks to my fabulous family and friends who are always an enormous source of inspiration, support and joy to me, but particularly so over the course of this journey. I am deeply grateful to my wonderful parents, Frances and Raphie, for their love, kindness and endless encouragement; to my brothers and sisters for their warm support and easy banter; and to all the little people in my life who brighten my every day. A very special thanks to my adorable nieces and nephews -the voices of the future- for cheering me on and providing me with daily reminders of why creativity in education is vital for us all. This is for them. xi Table of Contents DECLARATION............................................................................................................... x Acknowledgements ..................................................................................................... xi List of Figures ............................................................................................................xvii List of Tables ............................................................................................................. xviii List of Acronyms .........................................................................................................xix Abstract ...................................................................................................................... xx CHAPTER 1: INTRODUCTION AND BACKGROUND TO THE RESEARCH......................... 1 1.1 Introduction ........................................................................................................ 1 1.2 Purpose and Scope of the Research Study ......................................................... 2 1.3 Arts Education, Arts-in-Education and Participatory Arts .................................. 3 1.3.1 Arts Education and Arts-in-Education ......................................................... 3 1.3.2 Participatory Arts ......................................................................................... 4 1.3.3 Selection of Case Studies ............................................................................. 7 1.3.4 ‘Pure’ versus ‘Applied’ Participatory Arts .................................................... 8 1.4 Rationale for Study ............................................................................................. 9 1.5 Research Questions .......................................................................................... 12 1.6 Frame of Research Study .................................................................................. 13 1.6.1 First Phase of Data Analysis ....................................................................... 14 1.6.2 Second Phase of Data Analysis .................................................................. 16 1.7 Researcher Context .......................................................................................... 18 1.8 Structure of Thesis............................................................................................ 19 1.9 Summary........................................................................................................... 20 CHAPTER 2: LITERATURE REVIEW .............................................................................. 22 2.1 Introduction ...................................................................................................... 22 xii 2.2 Literature Review Methodology ...................................................................... 22 2.3 Creativity: Concepts and Practices ................................................................... 23 2.3.1 Concept of Creativity ................................................................................. 23 2.3.2 Levels of creativity ..................................................................................... 29 2.3.3 Theoretical Paradigms of Creativity........................................................... 32 2.3.4 The Importance of Creativity ..................................................................... 34 2.3.5 Creativity in Education ............................................................................... 35 2.4 Arts Education and Arts-in-Education .............................................................. 38 2.4.1 Arts Education on the Global Stage ........................................................... 39 2.4.2 Arts Education Provision in Ireland ........................................................... 40 2.4.3 Beneficial Impact of Arts Education for Students ...................................... 48 2.4.4 Creativity in Post-Primary Education in Ireland ......................................... 49 2.5 Participatory Arts.............................................................................................. 56 2.5.1 Defining the Participatory Arts .................................................................. 56 2.5.2 Principles of Participatory Arts Practice .................................................... 61 2.5.3 Community-based Performance as Process .............................................. 68 2.5.4 Tensions in the Participatory Arts Field ..................................................... 69 2.5.5 Non-Conventional Modes of Participatory Arts Practice .......................... 71 2.6 Conclusion ........................................................................................................ 74 CHAPTER 3: RESEARCH METHODS ............................................................................. 76 3.1 Introduction ...................................................................................................... 76 3.2 Focus of Study .................................................................................................. 76 3.3 Overview of Research Framework ................................................................... 78 3.3.1 Pragmatism as the underpinning philosophical stance ............................. 80 3.3.2 Inductive Intent.......................................................................................... 81 3.3.3 Case Study Methodology ........................................................................... 82 xiii 3.3.4 Dominant Qualitative Concurrent Mixed Methods Approach .................. 91 3.3.5 Data Collection and Analysis ...................................................................... 95 3.4 Ethical Considerations .................................................................................... 115 3.5 Ensuring Rigour in the Research Process ....................................................... 116 3.6 Limitations of the Research ............................................................................ 118 3.7 Moving Forward ............................................................................................. 120 CHAPTER 4: PRESENTATION OF FINDINGS FOR UPSTATE ....................................... 121 4.1 Introduction .................................................................................................... 121 4.2 Fostering Climate/s for Creativity: Psychosocial and Partnerships ............... 123 4.2.1 Fostering Climate/s for Creativity: Psychosocial dimension ................... 123 4.2.2 Additional Psychosocial Factors that Contribute to Climate/s for Creativity .......................................................................................................................... 134 4.2.3 Fostering Climate/s for Creativity: Partnerships ..................................... 138 4.3 Processes for ‘Being Creative’ ........................................................................ 140 4.3.1 Imagining ................................................................................................
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