Teacher action and change is a complex and nuanced phenomenon that has been theorized across diverse literature in terms of identity, agency, and power. Drawing on this literature, this article offers specific articulations of teacher identity as interpretive framework, power as legitimate action, and agency as moral coherence. We posit a model of teacher agency understood in the interplay of individual beliefs, values, and ideals with institutional roles, authority, and institutional action, producing (or not producing) authentic action. This model draws (...) a distinction between agency and power, and highlights dynamics of equilibrium and discord that may emerge between who teachers are and what they do. The agentive triad model serves as a theoretical tool for guiding or supporting teacher growth and agentive action, and for understanding the dynamics between institutionally legitimized roles and teacher identities. (shrink)

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...) within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music-making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music-making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music-making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re-discovering and at the same time re-defining democracy. (shrink)

Elwyn Richardson’s experimental approach to teaching and learning and Oruaiti was officially sanctioned, but the history of education in Aotearoa/new Zealand shows that teachers have been typically conformist. In this article, I suggest that positivist paradigms from the industrial age continue to shape classroom teaching, partly because of norms of individualism, and partly because neoliberal understandings have become central in the functioning of our schools and society. Teaching is an activity that promotes the ethics of a community or society by (...) promulgating some ideas and marginalising others. In Aotearoa/new Zealand, many of our students struggle with the collective orientation of their community traditions and the societal emphasis on individualism. Modernist beliefs in social progress through technology still permeate education policy. Promoting communitarian understandings requires more open-ended approaches to teaching such as Richardson demonstrated. With digital technologies gaining progressively greater influence in schools, the opportunities for social connectedness have been enhanced alongside an increasing emphasis on individual devices. This article briefly explores interconnections between experimentation, context and community. (shrink)