Policy Framework for Arts in the New Zealand Curriculum

To: Secretary of Education

From: Senior Manager, Learning and Evaluation Policy

Topic: The draft Arts Curriculum Document - Policy framework

Date: 10 May 1999

This position paper examines a number of issues relating to the policy framework within which the draft Arts curriculum has been developed. It is to be read in conjunction with the following documents:

• The New Zealand Curriculum Framework Ministry of Education (1993)
• The Arts within a National State Curriculum Peter Smith (1998)
• Policy Specifications for National Curriculum Statements in Nga Toi/The Arts Essential Learning Area (April 1998)
• The Arts Background Paper Foley, Hong, Thwaites (May 1999)
• The Emphases of Major Documents contributing to the Arts in the New Zealand Curriculum and Analysis and Summary of Findings re Consistency and Inconsistency David Wood (May 1999)
• Arts in the New Zealand Curriculum draft statement (May 1999)

New Zealand seeks to adopt an approach of rigorous eclecticism with respect to the underpinning philosophies of its curriculum documents. No one single philosophic approach is adopted unquestioningly, but also no philosophy is dismissed without serious consideration being given to elements which can contribute to the overall quality of the work being undertaken.

The draft Arts Curriculum document is the publication of the Ministry of Education. It is required to meet the policy specifications set down by the Ministry, and these in turn have been analysed to establish their consistency with the foundation policy document, the New Zealand Curriculum Framework.

With respect to the Arts, the Curriculum Framework provided a rationale for its inclusion as an essential learning area, briefly described key knowledge, understanding, attitudes and values which the Arts could contribute to a student's learning, some of the activities which students would experience through studies in this learning area and an account of the various disciplines which the learning area embraced. The particular focus was on the provision of knowledge and understanding of their own heritage, culture and other cultures, and an opportunity to express their identity, to compose and communicate and to develop critical thinking skills in relation to the arts.

The New Zealand Curriculum Framework philosophy represents an amalgam of the educational beliefs which had characterised curriculum in New Zealand education from the 1940s. It builds firstly on the liberal-humanitarian philosophy associated in particular with Dr Clarence Beeby. This focused on equality of access to a broad and balanced curriculum, balancing the need for a child-centred curriculum designed to maximise the potential of each individual, with education for participation in New Zealand society. Linked with this was a particular emphasis on progressivism within Arts education, with experiential learning for the child as artist at the centre of Arts curricula and pedagogy.

Secondly, the 1980's reviews of education policy and wider social policy are reflected in the addressing of areas in which the existing curricula were seen to be delivering less than equitable outcomes. In particular recognition is given to the principles of the Treaty of Waitangi, according particular recognition of te reo and nga tikanga Maori.

The Framework is further shaped by the consideration of the socio-economic imperatives informing the wider public policy with their emphases on efficiency and effectiveness, and on modern technology and economically competitive skills. Economic rationalism recognised the importance of education in developing the New Zealand economy.

The Curriculum Framework does not explicitly specify its philosophic underpinnings by direct reference to a single definition of the nature of knowledge. Rather, in its statement of principles, it demonstrates the eclecticism described earlier through the way in which key features of a range of ontological and epistemological positions can be identified. In explicating this amalgam in the draft Arts curriculum the Ministry has remained consistent with the original eclecticism.

The nine principles are as follows:

• The New Zealand Curriculum establishes direction for learning and assessment in New Zealand schools.
• The New Zealand Curriculum fosters achievement and success for all students. At each level, it clearly defines the achievement objectives against which students' progress can be measured.
• The New Zealand Curriculum provides for flexibility, enabling schools and teachers to design programmes which are appropriate to the learning needs of their students.
• The New Zealand Curriculum ensures that learning progresses coherently throughout schooling.
• The New Zealand Curriculum encourages students to become independent and life-long learners.
• The New Zealand Curriculum provides all students with equal educational opportunities.
• The New Zealand Curriculum recognises the significance of the Treaty of Waitangi.
• The New Zealand Curriculum reflects the multicultural nature of New Zealand society.
• The New Zealand Curriculum relates learning to the wider world.

Within these principles can be seen the influence of a range of philosophic approaches, key amongst which are modernism, postpositivism and postmodernism. It is not the role of this paper to discuss in detail the understanding of each of these positions, but to provide some indication of the ways in which their influences can be seen within the overall curriculum policy, and in particular within the draft Arts curriculum.

The influence of modernism within New Zealand curriculum policy had been evident for some considerable time. The second principle, with its emphasis on measurable achievement objectives, and the fourth which focuses on coherent progression of learning throughout schooling particularly reflect this. The Curriculum Framework recognises the power of the Arts as forms of personal and social expression. The draft Curriculum document adds cultural expression to this range.

The existing Art and Music syllabi of the 1980s reflected a modernist perspective with their emphases on the expressive aspects of the modernist ideal. The instrumental rationalism at the heart of modernism saw the development of new and unique art forms with a critical element of their value placed on the new and experimental contribution each work of art made to the overall world of the arts. From this perspective it is important to break art works into their constituent elements and to understand the contribution each makes toward the artwork achievement

Inherent in postpositivism is the concept of current knowledge as permanently awaiting disproof. Popper defines the real world as existing independent of ourselves, and touching us each time we experience something. From this realist perspective, knowledge claims must explain how they may fail. Kuhn proposes that current knowledge operates within particular paradigms, and that real advances are made only by revolutionary interpretive shifts in which one paradigm replaces another. It is not clear whether the meanings of one paradigm can be translated into the terms of another, suggesting the discontinuity and incommensurability of progress toward a modernist ideal.

Thus curriculum content is addressed with a certain level of scepticism which maintains a continuous position of awaiting the test which will disprove it.

The analysis of consistency from Curriculum Framework to draft Arts statement identifies the influence of postmodernism as occurring after the publication of the Curriculum Framework document. It would appear from discussions with those involved at the time, that the writers were unaware of this philosophical development. However among the Framework's principles, the ties between knowledge and culture are made explicit, that is what constitutes knowledge is defined in part by the cultural perspective of the learner. In particular this is shown through the emphasis on multiculturalism, and the recognition of pluralism.

The term postmodernism operates as an umbrella term for a range of philosophies which range from a mild scepticism of the modernist grand design to the almost anarchic elements described in radical postmodernism, which risk to paralysing the philosopher as communication becomes nothing more than ludic parology.

The writers of the draft Arts curriculum document identify the significance of postmodernism in the background paper they prepared. With respect to the application of postmodernism to curriculum, the writers focus on the work of Doll.

Doll's writings position him at the conservative end of the range of postmodernism, building, as he does, an approach to curriculum development which combines prescribed curriculum (whether by the nation, state, school or teacher) with the contribution by the individual student. Thus Doll writes of the essential tension between lessons oriented to closure with those seeking multiple pathways or alternatives. "The broad goal would be to combine closure with openness, performance with development, right answers with creative solutions and processes." (p.251)

The draft Curriculum document is considered by the Ministry of Education to meet the requirements of the policy specifications, and to demonstrate rigorous eclecticism with respect to the philosophic approaches adopted.

The third principle requires the Curriculum Framework to provide sufficient flexibility for schools to develop programmes to meet the needs of their students, while the fifth principle sets the context for this in encouraging the development of independent life-long learning.

These two principles outline the Framework's position with respect to pedagogy.

Within the New Zealand Curriculum Framework and its supporting documents the policy position has required that sufficient flexibility be inherent in the curriculum statements as to allow schools to develop programmes from a variety of pedagogical approaches, designed to address the needs of their students, both as individuals and groups.

Thus again while the writers of particular documents may hold particular positions with respect to pedagogies, the Ministry of Education is required to ensure the flexibility of the Curriculum Statements.

Within the Arts curriculum, two educational philosophies have dominated practice in New Zealand , progressivism and constructivism. Progressivism, in particular in relation to arts education sees a focus on the experiences of the learner as artist, that is, a significant focus on engagement with the creation of artworks. It is in no small part through this engagement that the knowledge and skills which enhance responsiveness to artworks are developed.

Constructivism has been variously interpreted as an epistemological position and a pedagogical approach. While epistemologically it requires the adoption of a non-realist position, as a pedagogical approach it provides greater flexibility. It recognises the importance to learner of scaffolding new knowledge and skills from the familiar.

However neither position is prescribed by the Ministry, and the Ministry is confident that both these dominant pedagogies and a wide range of other approaches may be adopted in implementing programmes which will lead to students' achievement of the curriculum objectives.

Bibliography

Doll, W.E.Jr, Foundations for a post-modern curriculum Journal of Curriculum Studies 1989 Vol 21 No 3, 243-253

Foley S, Hong T, and Thwaites T (1999) The Arts Background Paper

Ministry of Education (1993) The New Zealand Curriculum Framework

Ministry of Education (1998) Policy Specifications for National Curriculum Statements in Nga Toi/The Arts Essential Learning Area

Ministry of Education (1999) Arts in the New Zealand Curriculum (Draft)

Smith P (1998) Report to Ministry of Education on The Arts within a National State Curriculum

Wood D (1999) Report to Ministry of Education on the Emphases of Major Documents contributing to the Arts in the New Zealand Curriculum and Analysis and Summary of Findings re Consistency and Inconsistency Arts in the New Zealand Curriculum draft statement