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Kevin Gormley The Discursive Construction of the Concept of Creativity in Australian Education Policy and Practice Kevin Gormley A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy I UNSW AUSTRALIA School of Education Faculty of Arts and Social Sciences May 2017 THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Gormley First name: Kevin Other name/s: Abbreviation for degree as given in the University calendar: PhD School: School of Education Faculty: Faculty of Arts and Social Sciences Title: The Discursive Construction of the Concept of Creativity in Australian Education Policy and Practice Abstract Multiple and conflicting truths are simultaneously being told about creativity in Australian and global contexts: creativity is related to improvisational free-play and also to academic rigour, both about self-expression and about very specific economic outcomes, situated in collaborative contexts but also in the exploitation of others. This thesis takes a Foucauldian genealogical approach to relate the construction of truth and knowledge about creativity in Australia to the conditions of possibility that inhere in education policy and practice. Three sites are foregrounded to conduct this analysis. The first is a range of policy documents, four specific to the Australian context and one global, where I use Foucault’s concept of homo economicus to analyse how neoliberal conditions establish a competition and productivity-oriented version of creativity. I indicate how there is a silence about alternative accounts of self- expression and of the indeterminacy of creative outcomes in these policies. Secondly, I focus on the school institution and analyse interviews conducted with seven teachers in an Australian high-school music department (two interviews with each teacher). I draw on Foucault’s idea of disciplinary power to argue that the conditions of normalisation and surveillance in the school institution construct creativity as a quantifiable entity. However, this subjugates discourses of ambiguity and unconventionality. Finally, the third point of analysis is one individual’s subjectivity. Using Foucault’s concepts of ethical self-formation, parrhesia and counter-conduct, I analyse practices undertaken by a teaching deputy principal in the construction of his subjectivity, and consider how these practices co-opt and counter neoliberalised and disciplined inflections of creativity. The account of the power/knowledge relationship presented here adds to the literature on creativity in the Australian context, for example, to respond to the question of whether or not creativity can be taught and assessed. Additionally, the thesis addresses a need for more research that brings Foucault’s perspectives and concepts into dialogue with empirical data in pursuing contemporary education questions. Finally, guided by a broader and more capacious interpretation of policy, this thesis contributes to the field of policy studies by identifying nuanced patterns of co-option, countering and enactment between policy texts and teachers’ practices in a specific school context. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). 08/05/2017 Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed: Date: 08/05/2017 AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed: Date: 08/05/2017 ii ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. Acknowledgements To my supervisors and to staff members of the School of Education, UNSW: Thank you, Dr. Richard Niesche and Dr. Karen Maras, for all your guidance and support in supervising my work. Thanks especially for the balance between finding merit in drafts and pushing me to improve the work, and for the empathy you showed throughout. Thanks also to Debbi, Jennifer P, Jennifer E and Amy. I am very grateful for everything you have done for me throughout my candidature. To fellow PhD students: The highlight of my candidature was working alongside everyone I met in UNSW, especially Naoko, Mona, Adrian, Joanne, Nur, Israt, Michael and Karen. A very special thank you, Naoko, for your friendship, kindness, good humour and ability to see the good in every situation. To all the participants who took part in this research: I appreciate your time and generosity. To family and friends: Sincere thanks for supporting me at all stages of the study. I dedicate this thesis to my parents for continuing to show me the value of persistence and of keeping perspective. iii Abstract Multiple and conflicting truths are simultaneously being told about creativity in Australian and global contexts: creativity is related to improvisational free-play and also to academic rigour, both about self-expression and about very specific economic outcomes, situated in collaborative contexts but also in the exploitation of others. This thesis takes a Foucauldian genealogical approach to relate the construction of truth and knowledge about creativity in Australia to the conditions of possibility that inhere in education policy and practice. Three sites are foregrounded to conduct this analysis. The first is a range of policy documents, four specific to the Australian context and one global, where I use Foucault’s concept of homo economicus to analyse how neoliberal conditions establish a competition and productivity-oriented version of creativity. I indicate how there is a silence about alternative accounts of self-expression and of the indeterminacy of creative outcomes in these policies. Secondly, I focus on the school institution and analyse interviews conducted with seven teachers in an Australian high- school music department (two interviews with each teacher). I draw on Foucault’s idea of disciplinary power to argue that the conditions of normalisation and surveillance in the school institution construct creativity as a quantifiable entity. However, such conditions undermine discourses of ambiguity and unconventionality. Finally, the third point of analysis is one individual’s subjectivity. Using Foucault’s concepts of ethical self-formation, parrhesia and counter-conduct, I analyse practices undertaken by a teaching deputy-principal in the construction of his subjectivity, and consider how these practices co-opt and counter neoliberalised and disciplined inflections of creativity. The account of the power/knowledge relationship presented here adds to the literature on creativity in the Australian context, for example, to respond to the question of whether iv or not creativity
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