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I STATE of the ARTS: FACTORS INFLUENCING ONTARIO

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I STATE of the ARTS: FACTORS INFLUENCING ONTARIO STATE OF THE ARTS: FACTORS INFLUENCING ONTARIO ELEMENTARY TEACHERS’ PERFORMING ARTS INSTRUCTION By Paul R. Vernon A thesis submitted to the Faculty of Education in conformity with the requirements for the degree of Master of Education Queen’s University Kingston, Ontario, Canada December 2014 Copyright © Paul R. Vernon, 2014 i Abstract This thesis examines Ontario elementary teachers perceptions of their teaching of the performing arts (i.e., music, drama, and dance), through responses to an online survey. Participants (N = 138) described multiple aspects of their training and experiences in the performing arts, their comfort in teaching the performing arts, and the degree to which they thought they were teaching the expectations in the curriculum document. The document “The Arts, Grades 1-8, 2009” clearly describes (a) many benefits of performing arts practice, (b) elements of practice and instruction in each performing arts area, (c) how the creative process is a part of and enhanced by participation in these activities, and (d) guidelines for assessment of and through the arts, in addition to (e) describing the many mandated specific expectations for each subject and Grade level. However, few studies have addressed the training and experience of the teachers of the performing arts, and there is a pressing need for baseline data about performing arts instruction to inform hiring, certification, and professional development policies. Descriptive statistics are presented which detail many varied elements of performing arts instruction in Ontario schools, and ANOVAs are used to compare the differences between training groups on teachers perceptions of their comfort, the frequency and duration of their instruction, and their adherence to the curricular expectations. Analyses revealed that participant teachers with high levels of training and experience reported significantly higher levels of comfort and effectiveness in their performing arts instruction than teachers with low or no training in the performing arts. Analyses also showed that participants with low amounts of formal training and limited experiences in the art form can perceive themselves as comfortable and effective at teaching the performing arts. These participants rated themselves significantly higher than participants with no training or experience. Structural conditions and broad baseline data are also presented. i Acknowledgements There are far too many people to thank here for helping me on this journey. From my inspirational professors at Trent University in Cultural Studies, History, Native Studies, and Philosophy, to my work colleagues in the film business in Toronto and Halifax, thank you for supporting my journey to this point and challenging me to think and be different. If it were not for the Artist in the Community Education (ACE) program at Queen’s University who accepted a portfolio of artistic works as a representation of my abilities over my undergraduate marks, I would not have been accepted to complete my B.Ed anywhere, and I would still be working on set somewhere today. Thank you for giving me this opportunity when no one else would. To my ACE crew, students and instructors, I would not be here without you. Thank you for helping me through my first year back at school. Knowing that you are all out there making an artistic difference in students’ lives every day makes me very happy and gives me hope. To my current and past professors at Queen’s University, thank you for guiding me through this journey and helping me in my intellectual development. To all of the instructors in the Bachelor of Education program at Queen’s University, you may never know how much I look up to your expertise, talent and knowledge, but the lessons I learned from you resonate daily. To the kind and wonderful staff in administration, e-services, and the amazing Education Library staff, thank you for your patience, dedication, and encouragement. I am continually impressed and inspired by the incredible people in this building. My student colleagues in my cohort have been wonderful and inspiring, and crucially helpful in so many ways. Without you and your steadfast support and understanding I would never have made it through this. I must also thank my good friends who are not in my cohort, but who nevertheless have had to deal with me as I try to complete this project. My loves and my friends, past and present, and the people who I care for deeply, I hope you know who you are: Thank you ii for the thoughtful conversations, and for being incredible through all the drama, I feel lucky to know so many amazing people. It’s been a beautiful and tragic and incredible journey, thank you for loving me and for being you. To my committee member, Ben Bolden, I am thankful to have had so much time in the classroom with you, and I am lucky to be able to work with you on this project. Thank you for your kind words and ways, your understanding and inquisitive being, and your generous heart. If I can ever become half the teacher or researcher you are, I will be doing well. To my supervisor Chris DeLuca. Chris, from the first day I met you, you listened, encouraged, inspired and guided me. You offered detailed feedback on a paper of mine before you were my supervisor, just because you saw a guy who needed a hand. You have put up with my weird ideas, my indecision, my existential crises, my frustrations, and my extracurricular activities. To say that I’ve put you through a lot is an understatement, and you’ve always been there for me when I needed you. Your keen intellect, vast knowledge and critical eye have been essential to this project. However, it is your kindness, generosity, humour and patience has made it possible for me to carry on doing this work. I am grateful to you for being a fantastic human, thank you for everything. I gratefully acknowledge the financial support of the Social Sciences and Humanities Research Council of Canada, without whose assistance this project would not have been possible. Lastly, I must thank my parents, Len and Phyllis Vernon. Thank you for everything. Everything, actually. You encouraged me and challenged me my whole life. Without your support and encouragement I would not be here doing this work. Without your patience and love I would not be okay. Without your curiosity and lust for life I would not have travelled. Without your challenging minds I would not be thinking like this. Without your love of the arts I would not have loved the arts. You inspire me and ground me, and I’m lucky to have you in my life. iii Table of Contents Abstract ................................................................................................................................................................ i Acknowledgements ............................................................................................................................................ ii List of Tables .................................................................................................................................................... vii Preface ................................................................................................................................................................ ix CHAPTER 1: WHY STUDY THE PERFORMING ARTS? ................................................................... 1 Purpose ........................................................................................................................................................... 5 CHAPTER 2: PERFORMING ARTS EDUCATION IN ONTARIO .................................................. 7 Early Years of Music Education in Ontario .............................................................................................. 7 Progressive Education .................................................................................................................................. 9 Common Sense Education ........................................................................................................................ 12 Current Context of Performing Arts Education in Ontario ................................................................. 13 The Current Arts Curriculum in Ontario ................................................................................................ 15 CHAPTER 3: LITERATURE AND THEORETICAL FRAMEWORK ............................................ 21 Music ............................................................................................................................................................. 22 Drama ........................................................................................................................................................... 25 Dance ............................................................................................................................................................ 27 Empirical Studies on Performing Arts Instruction ................................................................................ 30 Theoretical Framework .............................................................................................................................. 37 CHAPTER 4: METHOD .............................................................................................................................. 44 Phase 1: Survey Instrument Design and Development ......................................................................... 44 Phase 2: Provincial Administration of Survey Participants
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