Abstract
Arts-based approaches to learning and teaching in higher education have a distinct capacity to provide students with authentic learning opportunities. This chapter, centred in the performing arts, demonstrates how an institutional approach to learning influences and embeds collaborative and interdisciplinary learning in the area of live theatrical production. It also demonstrates how students’ reveal curiosity and empathy by engaging with the work of others through a unique community of creative-arts practice, at the same time attaining disciplinary expertise and the aggregated knowledge that leads to a collective dramatic performance. The authors present a framework in which learning in the creative and performing arts is strengthened by the inclusion of higher education and discipline standards to ensure quality in student learning and comparative standing. Application of the framework is demonstrated through a case study highlighting creative teaching methods used in live dramatic performances at one of Australia’s leading performing arts institutes.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Almqvist, Cecilia, John Vinge, Lauri Väkevä, and Olle Zandén. 2016. Assessment as Learning in Music Education: The Risk of “criteria compliance” Replacing “learning” in the Scandinavian Countries. Research Studies in Music Education 1–16. http://journals.sagepub.com/doi/pdf/10.1177/1321103X16676649. Accessed 30 Nov 2016.
Bashford, John. 2017. Meeting with Director Learning and Teaching. Sydney, April 25.
Carey, Gemma. 2010. Performance of Learning? Reflections on Pedagogical Practices within the Conservatoire. Presented at the 18th International Seminar of the Commission for the Education of the Professional Musician, Shanghai, China.
Crisp, Geoffrey. 2012. Integrative Assessment: Reframing Assessment Practice for Current and Future Learning. Assessment and Evaluation in Higher Education 37: 33–43. http://www.tandfonline.com/doi/full/10.1080/02602938.2010.494234. Accessed 30 Nov 2016.
Dewey, John. 1934. Art as Experience. New York: Capricorn Books, G.P. Putnam’s Sons.
Department of Communication and the Arts. 2017. Performing Arts Training Bodies. Canberra: Australian Government.
Forsyth, Graham. 2013. The COFA Experience: Assessment Reform and Review. In Improving Assessment in Higher Education: A Whole-of-Institution Approach, ed. Richard Henry, Stephen Marshall, and Prem Ramburuth, 147–165. Sydney: NewSouth Publishing.
Gregory, Sean. 2010. Collaborative Approaches: Putting Colour in a Grey Area. International Journal of Community Music 3: 387–397.
Hardin, Russell. 2002. Trust and Trustworthiness. New York: Russell Sage Foundation.
Hamilton, Jillian, and Luke Jaaniste. 2009. Content, Structure and Orientations of the Practice-Led Exegesis. Presented at the Art.Media.Design: Writing Intersections Conference, Hawthorn, Melbourne, 18–19 November.
Harwood, Eve. 2007. Artists in the Academy: Curriculum and Instruction. In International Handbook of Research in Arts Education, ed. Liora Bresler, 313–325. Illinois: Springer.
Heidegger, Martin. 1962. Being and Time, trans. John Macquarrie, and Edward Robinson. New York: Harper Row.
Kolb, David. 2015. Experiential Learning Experience as the Source of Learning and Development. New Jersey: Pearson Education.
Laird, Melissa. 2013. Remnant and Reliquary: Fragmentary Traces Reconciled as Object and Knowledge. In Doctoral Writing in the Creative and Performing Arts, ed. Louise Ravelli, Brian Paltridge, and Sue Starfield, 115–134. Oxfordshire: Libri Publishing.
Laird, William Terris. 1963. The Use of the Textbook. MAed diss., University of Sydney.
Leong, Samuel. 2017. Hong Kong Academy for the Performing Arts Benchmarking Exercise. In NIDA-HPAPA Benchmarking Report. Sydney: NIDA.
Merleau-Ponty, M. 1968. The Visible and the Invisible, trans. Alphonso Lingis. Evanston: North Weston University Press.
National Institute of Dramatic Art. 2017a. Contextualising Practice. In MFA Subject Outline. Sydney: NIDA.
National Institute of Dramatic Art. 2017b. Vision Statement. Sydney: NIDA.
O’Loughlin, Marjorie. 1997. Corporeal Subjectivities: Merleau-Ponty, Education and the Post-modern Subject. Journal of Philosophy of Education 33 (2): 277–286.
Perkins, Rosie. 2013. Hierarchies and Learning in the Conservatoire: Exploring What Students Learn through the Lens of Bourdieu. Research Studies in Music Education 35: 197–212. http://journals.sagepub.com/doi/pdf/10.1177/1321103X13508060. Accessed 28 Feb 2017.
Polifonia Accreditation Working Group. 2010. Quality Assurance and Accreditation in Higher Music Education. In AEC Publications 2010—Framework Document. Amsterdam: AEC Publications.
Renshaw, Peter. 2013. Collaborative Learning: A Catalyst for Organisational Development in Higher Music Education. In Collaborative Learning in Higher Music Education, ed. Helena Gaunt and Heidi Westerlund, 237–246. Surrey: Ashgate Publishing Limited.
Rodgers, Paul, and Craig Bremner. 2013. Design Without Discipline. Design Issues 29: 4–13. http://nrl.northumbria.ac.uk/8863/1/DesignWithoutDiscipline-final.pdf. Accessed 20 April 2017.
Rumiantsev, Tamara, Annermarie Maas, and Wilfried Admiraal. 2016. Collaborative Learning in Two Vocal Conservatoire Courses. Music Education Research 1–13. http://www.tandfonline.com/doi/full/10.1080/14613808.2016.1249363. Accessed 11 April 2017.
Schon, David. 1983. The Reflective Practitioner: How Professionals Think in Action. London: Basic Books.
Schon, David. 1985. The Design Studio: An Exploration of its Traditions and Potentials. London: Royal Institute of British Architects (RIBA) Publications Limited.
Stock, Cheryl. 2013. Writing Embodied Practice from the Inside: Outside the Exegesis. In Doctoral Writing in the Creative and Performing Arts, ed. Louise Ravelli, Brian Paltridge, and Sue Starfield, 297–318. Oxfordshire: Libri Publishing.
Tertiary Education Quality and Standards Agency Act. 2011. Higher Education Framework Standards 2015. Federal Register of Legislation: Commonwealth Government. https://www.legislation.gov.au/Details/F2015L01639.
Tudor, Robyn. 2005. Creativity: A Higher Order Capability. PhD diss., University of Technology, Sydney.
Windsor, Harry. 2016. CEO Neil Peplow on AFTRS’ Remit and the Return of Discipline-Specific MAs. IF Magazine, August 25.
Acknowledgements
Director/CEO Kate Cherry, Deputy Director/CEO Michael Scott-Mitchell, Head of MFA (Writing for Performance) and author of ‘The Olympians’ Stephen Sewell, and John Bashford, Director Undergraduate Studies for their support of NIDA as a source for this chapter.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Ramburuth, P., Laird, M. (2018). Approaches to Enhancing Student Learning: A Quality-Assured, Creative and Performing-Arts Model. In: Chemi, T., Du, X. (eds) Arts-based Methods and Organizational Learning . Palgrave Studies in Business, Arts and Humanities. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-63808-9_5
Download citation
DOI: https://doi.org/10.1007/978-3-319-63808-9_5
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-63807-2
Online ISBN: 978-3-319-63808-9
eBook Packages: Business and ManagementBusiness and Management (R0)