Research in Education and Arts Practice @ NAFA:
REAP Series Issue 2
R.E.A.P. at
Nanyang Academy of Fine Arts
REAP Issue 2 (2021) REAP Series REAP is an acronym for Research in Education and Arts Practice. Editor
Rebecca Kan
Project Manager
Jonathan Chng
Contributors
Georgette Yu Tan Choon Ying
Student Assistant
Tan Jeng Suan
Designer and Illustrator
Nandy Rhea
Editorial correspondence can be addressed to: Pedagogy and Research Unit 80 Bencoolen Street Singapore 189655 pr@nafa.edu.sg Issue 2: Published in January 2021 © Nanyang Academy of Fine Arts All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owner.
Research in Education and Arts Practice @ NAFA: Pulses through the Pandemic
REAP Series Issue 2
Foreword
We are delighted to bring you the second issue of Research in Education and Arts Practice, even as we pace through exceptional circumstances in a global pandemic.
REAP@NAFA aims to profile a creative
As we envision a post-pandemic
medley of research-informed practices at
future, the quest for a fresh
Nanyang Academy of Fine Arts. Research at
outpouring in the arts continues:
NAFA is informed by practice that underpins
what are some new approaches
pedagogy, student experience, curriculum,
that we will embrace in artistic
and artistic practices.
creation? how can we make further improvement and contribution to educational problems?
In this issue, we explore how NAFA seeds a culture of research with people, processes and professional development. The profiles of our research partners are featured. We remain thankful for the collaboration and coordination work with colleagues, to advance
May the search for answers ignite a great awakening that will lift the arts into another league.
research-informed practices in teaching and learning of the arts.
Read and reflect.
Another highlight in this issue is the collective output of 15 NAFA colleagues in action research projects, which were showcased virtually in 2020. Thematic possibilities in curriculum, pedagogy, learning, mentoring, and information literacy were lovingly designed and presented by faculty. It is a representation of the indomitable spirit of artist-educators through the pandemic.
Rebecca Kan Pedagogy and Research Unit Office of Academic Affairs
Pulses through the Pandemic
Contents
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Our People About the PRU at NAFA pg 1 Our Team pg 1 Research Groundwork at NAFA in 6 Key Areas pg 2
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Our Processes Research Ethics Applications in 2020 pg 3 Improvements in Research Processes pg 4 Research Development in Grants, Ethics and Professional Learning pg 6
3
Our Partners Dr Joyce Koh pg 21 Dr Leong Wei Shin pg 22 Dr Rose Martin pg 23 Dr Christina Ratnam pg 24
4
Our Projects Self-Regulated Learning in Music Performance and Instrumental Practice pg 25 Narratives on Creative Engagements in Music pg 31
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Our Profiled Highlights Action Research Chronicles pg 35 Exhibition pg 37 Feedback and Evaluation pg 47
Ch 1 Our People About the Pedagogy and Research Unit at NAFA Established in July 2018, the Pedagogy
Together with the colleagues, students and
and Research Unit sheds light on the need
industry partners, research is conducted for
for research into artistic practices and
new knowledge and insights that deepen the
scholarship of teaching and learning in the
understanding of art and design at higher
tertiary arts landscape.
education.
Our Team
1
Rebecca Kan
Jonathan Chng
Vice-Dean
Assistant Manger
Nandy Rhea
Tan Choon Ying
Georgette Yu
Design and Media Alumna
Research Associate
Research Associate
Groundwork for research is laid at the Nanyang Academy of Fine Arts in 6 key areas:
Capability development through faculty development Policies and processes on
Processes to enhance
programmes and informal
teaching professionalism
leaning platforms
research ethics and research data management
Partnerships with local and overseas scholars to advance research impact on higher arts education
Collaborative projects with Schools that highlight
Publications that enhance
pedagogical competence
quality of scholarship and
and artistic identity
artistic inquiry
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Ch 2 Processes to Support Research at NAFA Research Ethics Applications in 2020 pg 3 Improvements in Research Processes pg 4 Research Development in Grants, Ethics and Professional Learning pg 6
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Research Ethics Applications in 2020
The Research Evaluation Panel (REP) approved and extended 15 ethics applications in 2020.
Title
Principal Investigator/Co-Principal Investigator
Narratives of Creative Processes of Music Making
Dr Ernest Lim (Dean, School of Music) Associate Professor Rose Martin (Norwegian University of Science and Technology)
Examining Lecturers’ Creation of Artistic Pedagogical Content Knowledge through Action Research at The Nanyang Academy of Fine Arts Singapore (NAFA)
Dr Rebecca Kan (Vice Dean, Pedagogy and Research Unit), Associate Professor Joyce Koh Hwee Ling (University of Otago)
Self-Regulated Learning in 3D Design
Kwek Sin Yee (Academic Advisor, 3D Design) Park Hye Young (Programme Leader, 3D Design)
Assignment Work to Support the Mental Wellbeing of Students with Psychological Needs in a 4D Curriculum
Geraldine Kang (Lecturer, Fine Art)
Understanding Fine Art Students' Reception of Online Learning w.r.t. the Community of Inquiry Framework
Tan Choon Ying (Lecturer, Fine Art)
Technology Enhancements for Critical Thinking in Design Exploration
Anthony Tan (Vice Dean, Fashion Studies) Gary Goh (Programme Leader, Fashion Studies)
Study on the Factors that Influence Students' Engagement Level during Online Learning
Christabel Teng (Vice Dean, Design & Media)
Investigating the Effect of Joint Assignment with Media Students in the Interdisciplinary Lab
Grace Leong (Programme Leader, Interdisciplinary Studies and Academic Enhancement Unit)
Does the Use of the Visible Thinking Routine Improve Students’ Creative Expression during Virtual Learning?
Mohammad Fadzli B Jamil (Vice Dean, 3D Design) Ng Soon Kiat (Programme Leader, 3D Design)
Implementing Character-based Gamification to Improve Teamwork Experience and Team Performance of Design & Media Students in Online Collaborative Design
Anm Pek Siok Ee (Lecturer, Design & Media) Associate Professor Joyce Koh Hwee Ling (University of Otago)
The Use of Designed Music for Creativity and Learning
Janielyn Kong Shih Leng (Lecturer, Design & Media) Associate Professor Joyce Koh Hwee Ling (University of Otago)
How does Design Thinking Cultivate Creativity and Effectiveness in Communication Campaigns?
Yix Guo Yi Xian (Lecturer, Design & Media)
Choreography as a Blended Learning Module
Gillian Tan (Senior Lecturer, Dance)
Examining the Level of Critical Thinking through PBL
Veronica Yew (Programme Leader, 3D Design)
Improvements in Research Processes Research Ethics As an institute of higher learning, Nanyang Academy of Fine Arts is committed to integrity in research. This entails all academic staff involved in research to ensure that research activities are conducted ethically. All colleagues who intend
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to carry out research activities with human participants are required to seek ethical approval by the Research Ethics Panel (REP) before the commencement of the project. The REP convenes when there are new ethics applications for ethical approval, and may also serve as an investigation panel to make decisions pertaining to research misconduct and compliance, should any arise. An external investigator may collaborate with a NAFA lecturer as a co-Principal Investigator (co-PI). A guidance document is available from Pedagogy and Research Unit to assist colleagues who are new to the research process to complete the Research Ethics application form.
Participant Information Sheet and Informed Consent Sheet The Participant Information Sheet is purposed to provide details about the research ethics project such as title, names and contact details of investigators, purpose and duration of project. It also outlines the research method used, what is asked of the participant and a confidentiality statement to safeguard the participant’s personal data. Participants are informed that their participation is entirely voluntary and that they may withdraw from the project at any time before the publication of the research by informing the principal researcher in writing. The Informed Consent Sheet is required for participants to indicate their consent to take part in the research project by providing their full name and signature, and must be completed before commencement of the project. By endorsing the form, participants acknowledge the statements provided in the Participant Information Sheet with regard to voluntary participation and confidentiality of personal data. More importantly, participants agree to being recorded or photographed during the research process, and give consent to release all
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information provided by them in the research for the purpose of publication or presentation. Both the Participant Information Sheet and Informed Consent Sheet are in PDF formfillable formats for ease of use. Annotations are included in the form to give investigators a clear idea about what needs to be completed. Parent Consent Form Participants under the age of 18 would need to seek permission from parents or guardians for their child/ward’s participation through a Parent Consent Form. The form is available from the NAFA Staffnet.
Research Development in Grants, Ethics and Professional Learning
Pedagogical Praxis Sharing
Self-Regulated Learning in the Arts 30 August 2019, 4-5.30pm
The role of feedback in self-regulated learning (SRL) is gaining increasing attention from educational researchers, advocating that formative feedback in particular, has the potential to facilitate self-regulated learning. In light of this, the Pedagogy and Research Unit collaborated with Dr Leong Wei Shin (Assistant Dean, Teacher Education and Student Life, National Institute of Education-National Technological University) from August 2018 to July 2019 to investigate approaches of self-regulated learning in music practice.
To promote awareness of research processes, a host of programmes were planned for the academic year of 2019-20 • • • •
Pedagogical Praxis Sharing Research Grants Research Ethics Research Methods
This research points to the need for student professional musicians to re-visit how approaches of self-regulated learning will affect instrumental and ensemble practice and performance. The project itself arose from conversations with students from School of Music, and a natural desire to improve self-directed learning and assessment practices among faculty. This sharing reported on the key findings from this project and opened the space for discussion on how approaches of self-regulated learning can lead students to higher levels of artistic achievements. For more information about this project, please see Chapter 4.
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Pedagogical Praxis Sharing
Alternative Applications 6 February 2020, 4.30-6pm
Both colleagues presented their papers at the online Global Chinese Conference on Computers in Education (GCCCE 2020) in September 2020.
A pre-circuit breaker pedagogical praxis was facilitated by two Design Media part-time lecturers, Anm Pek Siok Ee and Janielyn Kong Shih Leng, who shared findings from a 4-month research project to evaluate innovative teaching and learning approaches in higher design education. Using characters and avatars to represent students in a gamified learning environment, Anm’s research on Character-based Gamification (CbG) was shown to help students become more self-aware of their talents, which could consequentially increase their levels of self-identity, self-development, inspiration, confidence and commitment to make their talent a reality in their career development.
Anm Pek on Character-based Gamification
Using a collection of self-created musical tracks, Janielyn's research explored how Designed Music using a variety of musical elements correspond to different emotional attributes. The pre- and post-study surveys showed the impact of designed music to conjure emotional stimulation, feelings of connection, creative stimulation, concentration and help with mood setting to maximise learning potential. Janielyn Kong on Designed Music
Research Grants
Writing Research Grants 14 February 2020, 4-5.30pm
Facilitated by Jonathan Chng (Assistant Manager, OAA), this session covered the nature and content of local research grants, including those offered by the MOE Tertiary Education Research Fund (TREF), National Heritage Board (NHB), National Arts Council (NAC), and Spencer Foundation. These grants would provide a significant boost to faculty who were interested in advocating the arts, and contributing to a fresh body of knowledge.
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To improve the chances of securing a research grant, it would be important to know the funding body or sponsor of the grant. This would enable researchers to make adjustments to their proposals that would appeal to the mission of the funders. In the case of NIE’s Office of Educational Research, their funding programmes were targeted at improving classroom practice, enhancing student outcomes, and building organizational and teacher capacities. On the other hand, National Heritage Board aims to encourage institutes of higher learning, think tanks, heritage NGO, academics and researchers to embark on heritage related research and/or technology-based projects to document Singapore's heritage. Khor Kok Wah (Vice-President, Industry and Projects) was invited to give advice as a former Deputy Chief Executive Officer of National Arts Council. He highlighted that some funding bodies might not provide the full funding at the onset. He added that NAC would initially only provide 30% of the amount of grant applied, to encourage researchers to reduce expenditure and find other sources of funding to support the project and minimise the failure of incompletion. Typically, funding bodies favoured applications that had already secured partial funding from other institutions, as it lent credibility and security to the project. In response to questions, colleagues were assured that the licensing and rights of the research product all belong to the creator. All spending should be accountable, especially for public research grants. Any unused balance had to be returned to the funding body. There would be no limit in the number of times a researcher could apply for grants, especially if their credibility is good. Lastly, participants were reminded about the importance of ensuring that the proposed projects did not disrupt social order or values of the general population, and neither should it discredit the government. If one were to do so, the project would likely to be deemed as a lesser priority as compared to others. All in all, “one should have a sense of responsibility” (Khor Kok Wah).
Khor Kok Wah on research funding
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Research Ethics
Ethics for Educational Inquiry 6 March 2020, 1-2pm
Intended for colleagues who had expressed interest in Educational Inquiry from March to May 2020, Dr Rebecca Kan (Vice Dean, Pedagogy & Research) gave an overview to educational research, including preparation of ethics application for human participation. With reference to previous case studies in previous research on TPACK for the Arts and Research in Music Assessment (Self-Regulation), colleagues were given an overview to the types of projects that had been done, and how they could scope their research according to three main points of focus, namely technology-enhanced learning, self-regulation in learning, care and well-being. The outcome of these baseline research findings were presented at NAFA’s Learning Festival in August 2020.
Research Methods
Completing Your Research Ethics Application 27 March 2020, 4-5.30pm
This session provided an update on recent developments of ethical approvals at NAFA, and tips to prepare an application for NAFA’s ethics application for human participation. The session provided the first touch for colleagues to complete ethics applications for the research course on educational inquiry, and opportunities for clarification on recruitment, research methods, collection of informed consent, and anticipated benefits or risks. The session opened the opportunity for colleagues to informally discuss their research interests and potential difficulties or limitations pertaining to research integrity with Dr Rebecca Kan.
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Research Methods
Action Research
Timeline 2019
July to October 2019
A 4-month Action Research workshop was organised in the first semester of AY19/20 to equip NAFA lecturers with research methodology to address classroom issues and teaching practices. Action research is a systematic approach used in educational research to make valid, reliable and data-driven teaching improvement. This was facilitated by Dr Joyce Koh Hwee Ling (Higher Education Development Centre, Otago University). Incorporating both face-to-face and video conferencing mediums, the sessions were geared towards helping staff to trigger teaching improvements through data and to explore various evaluation methods using online tools for data collection. Through the course, lecturers were led to act, examine and reflect on their practices guided by the analysis of the data collected and the understanding of learning theories. A total of 15 staff took part in this workshop series.
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}
Introduction to Action Research
2
}
Learning theories for examining student attitudes
7
}
Quantitative Analysis
23
}
Basic Content Analysis and Data Interpretation
6
}
Theories of Conceptual Change
13
}
Theories of Collaborative Analysis
27
}
Thematic Analysis
11
}
Inter-rater Analysis
18
}
Consultation on Poster Presentations
July
August
August
August
September
September
September
October
October Dr Joyce Koh facilitating via Zoom
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Post-ARCH Research Consultations
August to December 2020
Building upon lecturers’ engagement in action research, this series of 5 three-hour consultation sessions were facilitated for NAFA lecturers to produce a piece of empirical research publication that meets the standards for submission to the proceedings of a peer-reviewed local or international conferences or international peer reviewed journals.
Facilitated by Associate Professor
The sessions provided colleagues with an introduction to writing various parts of a research publication, one-to one writing critiques, and mentoring on the publication submission process.
Publishing your Action Research
The process of research publication process enables lecturers to produce knowledge and discourse in ways that are accessible to a wider international arts community. Building upon lecturers’ engagement in action research, this suite of workshops was organised over 5 months from August to December 2020. The workshops highlighted international research standards that are required in the publication process of peer-reviewed conference or journals. The sessions provided lecturers with an introduction to writing various parts of a research publication, one-to-one writing critiques, and mentoring on the publication submission process. Facilitated by Associate Professor Joyce Koh Hwee Ling (University of Otago, Higher Education Development Centre), this suite of five sessions shed light on the process of producing a piece of empirical research to analyse and present the results of innovations in teaching and learning.
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Joyce Koh Hwee Ling (Otago University)
Session 1
August 2020
The Structure of a Research Publication and Selecting a Conference or Journal for Publication The opening session discussed how action research can be translated into publication. A list of peer- reviewed local/international conferences and international peer-reviewed journals. Dr Koh shared on the importance of having a research focus, and understanding the typical publication structure in educational research. Participants were encouraged to survey paper abstracts, headings and subtitles to form their first impressions about research writing, and explore Social Science Citation Index (SSCI) listed journals that would be suitable for research in art and design. Various topics were discussed, including the difficulties colleagues face in writing, impact metrics of journals, H-index of scholars, and ways to improve writing and structure.
Session 2
September 2020
Writing the Literature Review Topics covered in this session included the function and structure of a literature review, search and reading techniques, research databases, and research techniques that would help colleagues to formulate a strong and well-developed literature review. A good literature review formulates an argument for a research question. Two moves were introduced: the narrative-descriptive and the rhetoricalargumentative.
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Besides defining key theoretical terms, it will be necessary in a literature review to summarise current research findings, identify gaps missing in the literature, explain the gap, and the significance of addressing this gap. Most importantly, to justify the need to study the research questions that are proposed.
Session 3
Writing the Methodology Section This session discussed the structure of methodology section, the outline of this section in a research paper, and various types of research designs. The workshop opened with colleagues sharing their progress on their publications, detailing where they were at and issues they faced. Dr Koh responded with suggestions on how to overcome these issues and improve the overall piece of writing. The research methodology section describes everything needed to execute the study. It demonstrates how researchers implement their study with methods that support the research questions, and helps readers to understand the context of the reported findings. To further understand the writing of methodology, participants were given 2 critique exercises to read and review. Additionally, topics such as the intervention, student profile, instrumentation, declaration of ethics, data collection methods and data analysis procedure were covered. The session closed with preparation that would be needed for the next consultation. Colleagues were encouraged to continue identifying international peer-reviewed journals and working on the literature review and methodology.
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October 2020
Session 4
November 2020
Writing and Presenting Data Ways of presenting qualitative and quantitative data were covered in this session. In papers reporting quantitative data, findings may include correlation and paired T tests for both singular and multiple variables. Papers reporting qualitative data would include content analysis and thematic analysis. While the section on Findings includes a presentation of research according to the research questions, the section on Discussion interprets findings with respect to existing literature, including the significance of the research contribution and practical implications for teaching. The session concluded with colleagues planning a tentative timeline towards the completion and publication of their paper.
Session 5
December 2020
Referencing, Publication Formats, Handling Reviewer Criticisms The fifth session covered the final stage of research for publication, which includes preparation for submission, the review process, response to the reviewers and final proofs before the acceptance for publication. When preparing the manuscript, one should observe the publisher’s housestyle and guidelines. The publication should also include a cover letter, a title page, citations, an abstract and declarations that there are no conflicts of interest.
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Some issues that were commonly identified by reviewers include the absence of theory, grammar and structure, careless mistakes in the cover letter, the lack of theoretical framework, impatience with a response in the editorial process, lack of specificity in the key words. When responding to a reviewer’s comments, colleagues were encouraged to remain neutral, regardless of positive or negative feedback. Reviewers appreciate authors who provide a serious and comprehensive response, and that initiative has been taken to address their comments. It is also necessary to highlight the changes that have been made, to facilitate tracking of changes for improvement. Data that has been analysed should not be changed, as this would place a question about research integrity. It is not uncommon to receive a review who comes from a different school of thought. Reviewers who may not be familiar with the subject area or methodology could misunderstand the research intent o the paper. The session ended on an encouraging note for colleagues to be patient in the entire review process and positive in response to the reviews.
Educational Inquiry and Research though a Data-Driven Approach 13 March, 3 April, 17 April, 8 May 2020, 1-4pm
This 4-session workshop facilitated by Dr Yang Chien-Hui (Mindsights Inclusion) covered an overview on research methods commonly used in educational setting. The course supported colleagues to build confidence in identifying a research problem, design a research study, and obtain data through qualitative and quantitative methods. Colleagues were supported by post-course individual project consultations that supported their seminar presentations at NAFA’s Learning Festival in August 2020.
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Dr Yang with participants
AIDA: An Inquiry on Data-Driven Approach
August 2020
This virtual research seminar featured a keynote by Associate Professor Ben Motidyang (Higher Education Development Centre, Otago University) on learning analytics, and six research presentations by colleagues from School of Art and Design, and a panel discussion on challenges in research at NAFA during Covid-19. AIDA is short for An Inquiry using Data-Driven Approach. In the context of educational inquiry process, there is a search for truth, through the collection and documentation of rich data. Data is analysed in various forms, in order to seek fresh perspectives through qualitative and/or quantitative methods.
AIDA seminar in progress
The following faculty presentations were featured across two days:
Understanding Fine Art Students' Reception of Online Learning Presented by Tan Choon Ying (Fine Art), this project used the Community of Inquiry (COI) framework to understand obstacles that students encountered in using online platforms, and also what preferences students had in communicating online.
Tan Choon Ying presenting her project
Self-Regulated Learning in 3D Design Presented by Kwek Sin Yee and Park Hye Young (3D), this research sought to understand the learning strategies of
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students from two disciplines Landscape and Architecture and Object and Jewelry, and how the students’ motivational beliefs and self-regulated learning correlated to their learning process.
Reflections on Educational Inquiry using Data-driven Approach Ethel Chong (AM) gave an overview of the course they colleagues had taken to arrive at their research inquiry.
Understanding Students' Self-esteem and Coping Mechanisms in 4D Art Studio Presented by Geraldine Kang (Fine Art), this qualitative study applied principles of art therapy to investigate the relationship between self-esteem and how students manage their academic and personal stresses.
Study on the Factors that Influence Students' Engagement Level during Online Learning Presented by Christabel Teng (Design Media), this investigation revolved around student’s comfort level with online learning, attitudes, and engagement with the content for learning.
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Technology Enhancements for Critical Thinking in Design Exploration Jointly presented by Anthony Tan and Gary Goh (Fashion Studies), this study was designed to discover how technologies have improved learning, the effectiveness of technology tools /software in education and the impact of technologies in learning on both teaching staff and students.
Conversazione: A/R/Tography as an Arts-Based and Creative Research Methodology 30 September 2020, 4.30-6pm A/r/tography is a term that encompasses and embraces equality and coexistence between the three identities of artist / researcher / teacher. Coupled with this is the notion of ‘graphy’ which in turn references connections between the art and text. An overview and critical understanding of a/r/tography was offered by Dr Rose Martin from Norwegian University of Science and Technology, where colleagues explored how a/r/ tography could sit with individual and collective practices at NAFA. The conversation was a pre-emptive presentation to the eleventh faculty research workshop series from November 2020, which would unpack the reflective, reflexive, recursive and responsive acts that form the practice of a/r/tography.
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External facilitators who delivered research workshops AY19/20
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Dr Christopher Khoo Soo Guan
Dr Joyce Koh Hwee Ling
Associate Professor, Wee Kim Wee School of Communication and Information Nanyang Technological University, Singapore
Associate Professor, Higher Education Development Center, University of Otago Dunedin, New Zealand
Dr Rose Martin
Dr Tan Shzr Ee
Dr Yang Chien-Hui
Associate Professor of Art Education, Norwegian University of Science and Technology Trondheim, Norway
Senior Lecturer, Department of Music, Royal Holloway University of London Egham, England
Consultant, Mindsight Inclusion Singapore
Dr Leong Wei Shin
Dr Ben Daniel Motidyang
Previously Assistant Dean of Degree Programme and Student Life, National Institute of Education Nanyang Technological University (NIE-NTU) Singapore
Associate Professor, Higher Education Development Centre, University of Otago Dunedin, New Zealand
Presently Lead Specialist, Assessment Policy and Practice and Curriculum Policy Office, Ministry of Education, Singapore.
Dr Michael Thomas
Dr Yim-Teo Tien Hua
Professor of Education, Liverpool John Moores University Liverpool, United Kingdom
Specialist Adult Educator (Curriculum Development) Institute of Adult Learning
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Ch 3 Our Partners enhanced learning has been implemented with teachers and higher education lecturers in Singapore, Indonesia, New Zealand, and Samoa. Since 2017, Joyce has been working with NAFA in various academic development initiatives. Besides serving as a keynote speaker in NAFA’s eFiesta, she has also conducted professional development workshops in instructional design for e-learning and action research for NAFA lecturers.
Dr Joyce Koh Hwee Ling is an Associate Professor at the Higher Education Development Centre of the University of Otago, New Zealand. She teaches and researches in the area of educational technology, specializing in student-centred pedagogies and teacher professional development. Joyce is internationally recognised for her work on design thinking in education and teacher professional development in technological pedagogical content knowledge (TPACK) or knowledge for designing technologyenhanced learning. She has authored numerous well-cited articles in SSCI-listed journals and an academic book about student-centred pedagogies for enhancing teachers' TPACK through design thinking. She has also won several national and international research grants where her methodologies for teacher development in technology-
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These workshops have culminated in a book project documenting the technology- enhanced learning pedagogies implemented by NAFA instructors and a showcase of the pedagogical innovation of NAFA lecturers through the Action Research Chronicles Showcase. Joyce is currently working with NAFA as a collaborating institution in a project that is funded by the Internationalisation of the Curriculum Grant from the University of Otago. This project supports the translation of University of Otago's TechnologyEnhanced Learning and Teaching
programme curriculum to an international context through technology mentoring of NAFA instructors to facilitate their shift to online instruction during the COVID-19 pandemic.
Division, MOE. His many positions and experience on teacher's professional work and knowledge, has kept him from believing that the pedagogical methods in classrooms schools, are the way they must be. As a specialist, researcher and teacher’s critical friend, Wei Shin sees himself as an intermediary for schools, Ministry of Education (MOE), Singapore Examinations and Assessment Board (SEAB), National Institute of Education (NIE) and other education institutions in negotiating the ambiguities and complexities of curricular and assessment changes.
Dr Leong Wei Shin is Lead Specialist, Assessment Policy and Practice and Curriculum Policy Office, Ministry of Education, Singapore. He was previously Assistant Dean of Degree Programme and Student Life at the National Institute of Education (NIE), Nanyang Technological University, Singapore. At NIE, he was Principal Investigator of a large scale Education Research Funding Program (ERFP) research project on Assessment for Learning (see: http://www.nie.edu.sg/project/oer-12-15-ccd). His latest research on findings on case studies of teachers’ professional learning of Assessment for Learning can be found in this NIE repository: https://knowledgebank.nie.edu.sg/ afl.html. As the focal contact person for NIE of the Network on Education Quality Monitoring in Asia Pacific (NEQMAP - http://www.unescobkk. org/education/quality-of-education/neqmap), he was invited by UNESCO to be their assessment specialist-representative and guest speaker on formative assessment and alignment of curriculum, assessment and teaching. Prior to joining NIE, Wei Shin served as Head of Aesthetics Department with a secondary school and a Unit Coordinator at Curriculum Planning and Development
He has specific interests in inter-disciplinary research and practices on assessment literacy and leadership, formative assessment or Assessment for Learning, and curriculum planning and implementation. His PhD research with Jesus College, University of Cambridge is on Singaporean teachers' conceptions and practices of classroom assessment.
In his limited spare time, Wei Shin indulges in conversations with teacher friends, assembling and disassembling lego sets and compose songs. He has recently adopted a kitten, call Taro. Wei Shin has been working with the arts fraternity at NAFA on various initiatives around assessment practices. He conducted professional development workshops on assessment literacy for both visual and performing art lecturers in 2016 and 2017. He is the Principal Co- Investigator of the project on Self-Regulated Learning in Music Performance and Instrumental Practice.
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Rose continues to work with the University of Auckland in the capacity of International Supervisor, and also holds a Visiting Expert position at Chengdu University. Rose has experience in research and teaching in the Middle East, Europe and Asia. She is part of international research consortiums with colleagues across Europe, Asia and the Pacific, receiving funding from sources such as UNESCO, Academy of Finland, and Kone Foundation. Her research interests include arts education; qualitative research methodologies; and dance and politics.
Dr Rose Martin is Associate Professor of Arts Education with a focus on Multiculturalism, at the Norwegian University of Science and Technology (NTNU). Rose was a dancer with the Royal New Zealand Ballet, and in 2012 she gained her PhD in Dance Studies, before becoming Senior Lecturer in Dance Studies at the University of Auckland. While at the University of Auckland she was the Associate Dean Academic for the Faculty of Creative Art and Industries. In January 2020 Rose took her current position at the Department of Teacher Education at NTNU where she teaches extensively on the Master’s and PhD programmes in Education, and leads the international engagement activities.
Rose has authored over 50 peer reviewed journal articles, book chapters and books. Her books include: The people’s dance: The power and politics of Guangchang Wu in contemporary China (Palgrave Macmillan, forthcoming, 2020) with Ruohan Chen; Dance, Diversity and Difference: Performance and Identity Politics in Northern Europe and the Baltic (Bloomsbury Press, 2017) with Professor Eeva Anttila; and Women, Dance and Revolution: Performance and Protest in the Southern Mediterranean (IB Tauris, 2016). Over the past two years, Rose has formed a strong relationship with NAFA where she has delivered a range of professional development activities focused on building research capacity and practice within the institution. At NAFA, Rose has worked with colleagues as a mentor and adviser on the research and publication process.
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Dr Christina Ratnam is a Senior Lecturer in the Policy, Curriculum and Leadership Academic Group at National Institute of Education, Nanyang Technological University, Singapore. She previously taught English Literature and English Language in a local secondary school and served in various capacities at the Ministry of Education: implementing the English Language 1992 syllabus, designing the English Literature teaching syllabus (1996), producing educational media, and crafting a framework for a kindergarten curriculum (2003). At NTU, she teaches on crafting the curriculum where she enjoys “unpacking” the curriculum implications of various purposes on knowledge that is valued, learning and assessment experiences, and how they are organized. Christina also teaches on theories and perspectives on learning, where she is intrigued by her students’ sharing of their reflections of their own perspectives of learning. Christina is also involved in facilitating conversations with school leaders, middle leaders and teacher leaders about their roles in curriculum leadership.
Her research interests include evaluation of curriculum implementation and teacher learning and professional development. Her funded research projects include: unpacking the variety in lesson study in Singapore; exploring the designing of a growth mindset curriculum in a Singaporean school; examining teachers’ conceptions and use of reflection to understand their practice; and perspectives of middle leaders on leading differentiated instruction.
Christina facilitated a course on designing and evaluating the curriculum for NAFA’s academic management in 2016. Using the Context, Input, Process and Product (CIPP) Evaluation Model, she led colleagues in 8 disciplines to plan and carry out curriculum planning, implementation and assessment, in preparation for a new curriculum that was subsequently rolled out in 2017. She has since continued to be a mentor-friend-advisor to curriculum-led initiatives, including a project that celebrates the dynamic relationship between teaching and learning of the arts through the eyes of doyen artist-educators at NAFA.
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Ch 4 Our Projects Self-Regulated Learning in Music Performance and Instrumental Practice pg 25 Narratives on Creative Engagements in Music pg 31
Self-Regulated Learning in Music Performance and Instrumental Practice
August 2018 to August 2019
Background This research project arose from conversations with students from School of Music, who had a natural desire to improve self-directed learning and assessment practices. The project explores conditions and characteristics of feedback for efficacious self-regulation learning (SRL). •
Research collaborator: Dr Leong Wei Shin (Assistant
Dean, Degree and Student Life, Teacher Education; Curriculum, Teaching and Learning Academic Group, National Institute of Education-National Technological University and now Specialist, Assessment Policy and Practice and Curriculum Policy Office, MOE) •
NAFA Co-Investigators: Dr Rebecca Kan; Georgette Yu
•
Research Assistance: Jonathan Chng and Kelvin Ke (August 2018 to January 2019)
Research participants in AY18/19: 4 students from School of Music, Lena Ching (Head, Keyboard Studies) and Tang Xiao Ping (Principal Tutor, Clarinet)
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Research investigators with student participants from School of Music
Focus of Study
The following research questions were posted in this study:
Research studies advocate that formative feedback has the potential to facilitate SRL (Andrade & Brookhart, 2016). However, there is a limited research on SRL in the field of arts and in the understanding of feedback within the framework of SRL in music studies. Over a period of 2 semesters in AY18/19, students were involved in reflections and interviews to identify characteristics of formative assessment that empowers learners to control and regulate learning and motivation in individual and ensemble music making. Teaching observations in Ms Lena Ching’s studio were also conducted to explore the students’ approach to SRL, and its effect on music practice and performance.
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What are the characteristics of formative feedback and SRL in a tertiary-level music performance class?
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How does the experience of processing formative feedback supports student self- regulation in a tertiary level music class context?
Key Findings of Case Studies 1.
Approach to SRL
Overall, participants demonstrated skills of self-regulation such as setting of long-term goals and sub-goals, deliberate use of various practice strategies, developing awareness of their learning, regulating their emotions and motivations and self-evaluating their performances.
2.
Self-regulation Practice Strategies
Participants in this study used similar strategies to those prescribed in Leon-Guerrero’s (2008) study, such as dynamics, tone and phrasing as interpretational goals. There were also non-playing strategies such as visualising the performance, use of metaphor to guide practice, characterization as interpretational technique and the embodiment of body and gestures that were not mentioned in previous literature. Another distinctive point in this study was the use of slow practice to improve concentration and memory.
3.
Processes of Self-Regulation
The process of SRL illustrated an iteration in goal setting, monitoring and self-evaluation of performance. Effective selfregulation was represented by the ability to close the loop between self-assessment of performance, goals and progressive monitoring one’s cognition, emotion and motivation. Long-term goals and sub-goals continually changed based on how students reflected and resolved problems during and after a performance.
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4.
Characteristics of Formative Feedback
There was a clear scatter of feedbacks from both internal and external sources. Participants took the initiative to seek help from peers, teachers and others resources, such as books and recordings. The processing of feedback seems to have come from different loci of causality. One of the cases conveyed a clear turning point in the course of the semester, when the feedback became more productive. In most cases, the interactions between student and teacher were emotive and turbulent. However, the participants showed appreciation of the different feedback despite not-knowing what to do and not having genuine dialogue with the feedback sources. There was an excellent case that exemplified the advantage of ‘feedback literacy’ to allow for effective self- regulation of learning.
Research-Led Recommendations for Consideration
Curriculum
In NAFA’s dedication to prepare students leaving NAFA as self-regulated learners, the curriculum can be constructed to provide more guidance on self-regulated practices. The use of formative feedback in the curriculum can also consider components of SRL to encourage more realistic goal(s) setting that is achievable using checklist of practice strategies. In practical modules, there could be clearer year-on-year expectations about what can be celebrated as achievements.
Pedagogy
Faculty members or tutors need be supportive or at least be familiar with the concept of self-regulation to promote SRL and foster students’ metacognition and cognitive flexibility. Teachers could consider development of formative assessment model that empowers learners to control and regulate learning in individual music making such as giving more opportunities for peer and self-assessment. While standards of performance can be expected in certain seasons of practice, it is important to make a distinction between practice spaces of learning where safety of experimentation, making of mistakes, trying out of ideas can be more supported. Such learning spaces can be enhanced with feedback literacy for both students and faculty members.
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Learning
The participants have contributed considerably to advance the knowledge of SRL within the context of learning at NAFA. All shared the enthusiasm of learning and wanting to be better in their chosen profession. The four participants shared three key areas that benefited them in participating in this research: first, the advantage of selfreflection that “is worth the effort, as it prevents us from getting looped in a cycle of bad habits”, secondly, the understanding of teacher feedback that “definitely instilled in me a sense of responsibility and motivation for my own learning”, and lastly, the research provided scaffoldings with “the few questions that guided… to what was crucial” and “sets me on another path to keep going at self-discovery”. The research model can be replicated in other arts disciplines to widen understanding of SRL in art education.
Key Findings
1.
Overall, participants demonstrated skills of self-regulation through prescribed reflective questions and interviews.
2. One distinctive point in this study was the use of slow practice to improve concentration and memory. 3. Effective self-regulation was represented by the ability to close the loop between self- assessment of performance, goals and progressive monitoring one’s cognition, emotion and motivation. Long-term goals and sub-goals continually changed based on how students reflected and resolved problems during and after a performance. 4. In most cases, the interactions between student and teacher were emotive and turbulent. 5. There was an excellent case that exemplified the advantage of ‘feedback literacy’ to allow for effective self-regulation of learning.
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Feedback from student participants: The outcome of the research was mostly surprising and enlightening to me, and it brought to my attention things that I had no awareness of doing during my own practice, when it was compared with a theoretical framework of self-regulated learning. One of which was that a lot of my reflections were on goal setting and feedback. Thinking back on my process of reflecting, I suppose a lot of my reflections were around goal-setting because not only was I heavily involved in my own research project on formative feedback, it was also related to the timing of my reflections. As most of my reflections were documented right after my principal study lessons, I would mostly be talking about the feedback given to me and what I would like to work on during my practice for the week. I suppose it did not seem as surprising that I was talking a lot more about feedback and my practice goals. Another thing that brought to my attention was the differences pointed out between my practice in Singapore and that in London. It made me realise that the kind of feedback given to me can vastly change the way I approach my own practice. Needless to say, I have greatly benefitted from learning with both teachers during my final year at NAFA, and both of them have definitely instilled in me a sense of responsibility and motivation for my own learning.
It was a weird experience watching the conclusions of the project being unveiled on the screen one-by-one. I did not think much when recording my reflections, but I’m once again reminded that whatever I feed into my mind on a daily basis is important, as they will shape my perspective subconsciously and have repercussions on my interactions with others.
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This project also made me realize that self-reflection is worth the effort, as it prevents us from getting looped in a cycle of bad habits. All in all, it was a good experience trying to look into secluded world of music-making, in an attempt to improve on longestablished ways of learning.
Thank you for having me in this research project over the past year and it has been rewarding for me as well. I was able to see and confirm for myself how some of the challenges that I constantly faced were because I was self-regulating. I also felt that the results were representative of what I felt of myself during my practices - having many practice strategies but some of them do not work out all the time. That also sets me on another path to keep going at self-discovery to find out what would be the best solution for different problems that I face along the way. The reflections also served as a good platform for me to sort out my thoughts along the way as I practised in the week.
Despite the vulnerability and exposure during the presentation, (due to me being the only wind player out of the 4 participants, examples given were quite obviously pointed to me) the journey has been a meaningful one. With the research outcomes, I saw myself in the light of a 3rd person. Personally, it was difficult for myself to describe to other people, my way of practice or how I function, but through jotting down honest thoughts, and working in what seems to be aimless, turns out to be a progressive learning journey where I get to pat myself on the back, telling myself how far I have come. Often times, I would lose sight of what is my main goal of all these, caused by frustration and constant drilling, but thanks to the few questions that guided me, I kept drawing myself back to what was crucial.
The biggest challenge of this particular research was I had other commitments in school, academics and performances that eats into personal time and space for reflection; and due to the inconsistency factor, I had to put the reflections on hold due to lack of time management- naturally, without the consistency of journaling, going back to it was not an easy task, especially when you had to admit your shortcomings in that task. I managed to pull through and drag myself back to do it as it was still an ongoing research. I’m glad I get to see to the end of it, and evaluate myself through that. Thank you for giving me the opportunity.
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Narratives on Creative Engagements in Music
November 2018 to August 2020
Background
Research participants:
On 26 September 2018, a Conversazione: Charting the Way for Researching the Arts was facilitated by PRU, inviting targeted representatives from the three Schools to contribute views and feedback on research practices, with the objective of distilling an identity for the artistic and academic research in NAFA. During this session, PRU shared the progress of various research work groups, and moving forward, how the Unit would support research plans and engagement with the schools on key research thrusts.
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School of Music settled on the following research thrust: To examine the creative engagement of music-makers in their processes of music collaboration.
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Dr Goh Toh Chai (Head, Composition Studies); Dr Jessica Chen (Head, Vocal Studies); Nellie Quinn (Lecturer, Keyboard Faculty); Lin Juan (Lecturer, Strings Faculty); Yu Jia (Lecturer, SCO Principal Pipa); Sunny Wong Sun Tat (Head, Chinese Instrumental Studies, Erhu)
Research Team on Creative Engagements
Arising from this decision, a collaboration was setup with Dr Rose Martin to explore and showcase the output of the faculty in collaborative music making encounters, using Goh (2019) Guofan Ge/ Songs of Overseas Migration as a catalyst for the research. Research collaborator: 1.
Dr Rose Martin (Associate Professor of Arts Education, Department for Teacher Education, NUST Norwegian University of Science and Technology)
2. NAFA Co-Investigators: Dr Ernest Lim; Amelia Chong (from November 2018 to May 2019; Georgette Yu (since June 2019) 3. Research Assistance: Jonathan Chng
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Dr Rose Martin with NAFA research collaborators
Overview This research explores the complexity by investigating the notion of acculturation (Berry, 2003) through the reflections of six musicianeducators from Nanyang Academy of Fine Arts (NAFA) on a collaborative music making work titled Guofan Ge/Songs of Overseas Migration by Dr Goh Toh Chai, for the Beijing International Chamber Music Festival in 2018. The concept of acculturation by John W. Berry (2003), the understanding of the “third space” by Homi Bhabha (1990), and Yayoi Uno Everett’s taxonomy (2006) on cross-cultural analysis of music compositions reveal the different notions of cultural values and cultural agency among musician-educators. Semi-structured interviews were conducted for over a year. The project aims to construct meaning of the acculturation phenomenon to inform teaching and learning in a multicultural music education. The following research questions were posted in this study: 1.
How are NAFA faculty experiencing acculturation as musicians?
2. How biculturalism and multiculturalism play out in intercultural encounters of music making? 3. What and who is adapting, shifting and changing in this music making process, and how?
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Key Findings
2.
Acculturation is the phenomenon contributing to changes in individuals when groups of distinct cultures come into contact (Berry, 2003). In this study, the phenomenon of acculturalism was unpacked in three areas: contact, conflict and adaptation (Lakey, 2003).
Given the complexities of the intercultural encounters in music making, conflicts were apparent in areas of creativity, aesthetics and technical aspects in relation to syncretism in composition. For some musicians, the process of blending cultural elements challenges cultural identity, creative freedom and performance style.
1.
Intercultural Contact
In the making of Guofan Ge, the musicians, despite having the same Chinese background, interact with cultural nuances differentiated by their Chinese heritage and traditions. The interaction was further compounded by the complexities of cultural identities defined by their roles in the ensemble, music education, experiences and professionalism and, also, by the cross-cultural aspects of the music composition in 3 respects: •
Transference – comprising of borrowing or quoting Asian aesthetics or musical forms (Everett, 2006).
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Syncretism – the transplantation of Asian musical attributes to Western instruments, and the use of hybrid instrumentation.
•
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Synthesis – in the composition by Goh offers a new musical idiom, a hybrid that is neither defined by East nor West. Thus, the distinction between cultures of East and West or defining a particular cultural identity to the composition is problematic.
Conflict
The conflict resulted in a tense relation between dualities of the East and West that challenged the notion of expertise in either the tradition of Western or Chinese music. The conflict, likewise, heightened awareness of differences in Western and Chinese music tradition and their individual roles in the ensemble. Thus, conflict is necessary to know and to be aware of the cultural values bounded by the classification of Chinese and Western instruments and the limitations of traditions of respective performance practices.
3.
Adaptation
The opportunities to dialogue and challenge cultural boundaries yielded a positive outcome. Goh called it “a congruence” when musician-educators “start to relate to each other when they are playing”. In the performance of Guofan Ge, the music finally takes on a clearer identity and performers arrive to new expressions in playing. Acculturation, as such, was negotiated that reflects a bicultural approach in assimilating of multiple cultural nuances in a multicultural context of music making.
RECOMMENDATIONS FOR CONSIDERATION 1.
Pedagogy
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To equip faculty with knowledge on the benefits in engaging students in crosscultural music genre.
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To understand complexities of intercultural encounters in a multicultural music education.
2.
Curriculum
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To enhance the music curriculum to equip students with technical expertise, but also, intercultural competencies.
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To offer opportunities of intercultural interactions among students of various cultures, of students and faculty, and of the local and international community.
This research collaboration is presently in its second phase that explores communities of practice among music students.
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Ch 5 Our Profiled Highlights Action Research Chronicles pg 35 Exhibition pg 37 Feedback and Evaluation pg 47
Action Research Chronicles The Action Research Chronicles (ARCH) virtual showcase which ran from 4 to 10 June 2020 featured the findings from their projects by way of ePosters and presentations. 35
The ARCH virtual showcase was hosted on a microsite that covered a range topics including curriculum design, pedagogical practices, learning efficacy, mentoring, and information literacy.
Research Projects
Lecturer/s
Research Areas
Curriculum Design
Kong Shih Leng Janielyn
The use of designed music in learning
Pek Siok Ee Anm
Developing awareness talent through character- based gamification
Chew Han Lim
Does quarter-scale patternmaking more effective
Lim Siok Kiang Eliza & Yu Sy Georgette
Watch and think: Incorporating Project Zero's thinking routines in learning to sew
Lim Poh Teck
Investigating subtractive and additive methods
Soh Pei Ling Joey
Epiphanic moments in learning
Sin Song Chiew James
E.P.I.C perspective research
Tan Tze Beng Benz
Develop design ideas through observation and reflection
Wong Pei Shi Tanny
Cultivating design thinking dispositions
Yap Poh Tiam Raymond
Does planar analysis improve the accuracy of proportion n students drawing
Chong Ai Leng Ethel
Journaling as self-reflection
Peh Mei Lian
Building students’ self-efficacy in creating content for visual narratives
Mentoring
Yang Xiao Juan Marienne
Mentoring in higher education arts institution
Information Literacy
Wang Ming Shan
Working with the creatives
Pedagogy
Learning
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Exhibition The Use of Designed Music in Learning
Research by Kong Shih Leng Janielyn
The use of digital tools in classrooms can be a form of pedagogical innovation. While there are concerns that digital devices can a distraction in class when used for personal entertainment and communication, the use of digital devices can supplement learning for the Generation Z students who easily multitask across various digital application and devices. For this study, specific designed music were created based on personality types. These, alongside the use of digital application, were implemented in a Design and Media class as creative stimulus for students. With this new teaching approach, we examine how technology can aid pedagogical innovation and enhance learning.
Developing Awareness of Talent Through Character- based Gamification
Research by Pek Siok Ee Anm
Character-based gamification for learning is the use of character avatar to represent a student in a gamified learning intervention. Existing research shows that gamified learning is beneficial towards students' social and behavioral aspects. However, the research on the effectiveness of character-based gamification and contribution to education were limited. This research investigates the potential and relevance of character-based gamification in relation to Design & Media students.
Is Quarter-Scale Patternmaking More Effective and Efficient than Full-Scale Patternmaking in Terms of Resource Consumption and Learning Outcome This research investigates the effectiveness and efficiency of teaching quarter- scale patternmaking to fashion students.
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Research by Chew Han Lim
A quasi-experimental research method were implemented to get insight of students' perception on full-scale and quarterscale patternmaking techniques. This study showed that using quarter-scale techniques for patternmaking is efficient and effective. Most students gave positive feedback for using this techniques, however, some indicated preference to the full-scale method.
Watch and Think: Incorporating Project Zero's Thinking Routines in Learning to Sew
Research by Lim Siok Kiang Eliza and Yu Georgette
In a sewing class, students learn sewing skills by observing various techniques through in-class demonstration conducted by the lecturer. However, this method of teaching were seen ineffective due to students general lack of engagement. As such, we constructed teaching activities and sewing videos that promotes active thinking by applying PROJECT ZERO’S THINKING ROUTINES exercises after each sewing demonstration. In this study, various thinking dispositions were identified and students' metacognition were examined to understand its role in learning. This research also seek insights to students’ perception of the thinking routines incorporated as teaching activities.
Investigating Subtractive and Additive Drawing Methods
Research by Lim Poh Teck
This study evaluates effective teaching methods in a drawing class by comparing results from three groups of students. First group was taught subtractive drawing, second group was taught additive drawing and last group was taught both methods. Survey data was collected to understand students' preferences and learning experience.
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Epiphanic Moments in Learning
Research by Soh Joey
This action research was conducted in a New Media Art module with 35 Year 2 students from various arts and design programme. This study evaluates the possibility of facilitating epiphanic moments in a cross-disciplinary elective class. Guided by Kolb’s experiential learning, this study investigates various methods of experiential learning and the phenomenon that occurs with experience and moments of epiphany. This research proposes a three-way facilitation of experiential learning with self, others and place that promote the epiphanic moment.
E.P.I.C Perspective Research
Research by Sin Song Chiew James
The Year 2 Design & Media students were invited to participate in this research that explores experiential learning via the 4 categories of E.P.I.C (Experiential, Participative, Image-rich and Connection). The outcome of this research helped in redesigning teaching with the understanding of each E.P.I.C. categories in relation to students' learning experience.
Develop Design Ideas through Observation and Reflection This research examines the effectiveness of critical observation and reflection to promote fashion students' ability to develop better designs. 15 fashion students enrolled in draping module were asked to first observe works created by their peers, then, to critically reflect on how they can improve their own work. Pre- and post- survey questions were collected and analysed to identify changes in the way students observe and reflect. This study showed that students made significant improvements as a result of using observation and reflection in their learning.
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Research by Tan Tze Beng Benz
Cultivating Design Thinking Dispositions
Research by Wong Pei Shi Tanny
This research aims to gain understanding of design thinking dispositions in a Creative Thinking module for foundation level students in School of Arts and Design (SOAD). The outcome of this research gave us insight into students' experiences and appreciation for design thinking through their written reflections. There are 10 design thinking constructs used to evaluate the various dispositions. These are: tolerance for ambiguity, embracing risk, human centredness, process driven, problem reframing, collaborative, experimentation & exploration, learning from mistakes, critical questioning and creative confidence.
Does Planar Analysis Improve the Accuracy of Proportion in Students' Drawing?
Research by Yap Poh Tiam Raymond
This action research was conducted in a Figure Drawing Elective module over a period of 14 weeks. It examines the use of planar analysis to improve students' capability to draw. Students' perceptions on the use of this technique were collected to evaluate its usefulness. Likewise, answers from the survey were analysed to understand students' learning experiences for this module. Over a period of 14 weeks, 18 Arts Management students, who are enrolled in the Arts and Cultural Industry Project, participated in this study that examines the practice of writing journal and students' ability to self-reflect. This study was initiated after having observed a significant number of students were not able to articulate and analyse their learning through their written reflection. For this study, three journal entries were collected and evaluated. The outcome of this research showed that by guiding students in their writing enabled students to be more analytical with their written reflection.
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Journaling as Self-reflection
Research by Chong Ai Leng Ethel
Over a period of 14 weeks, 18 Arts Management students, who are enrolled in the Arts and Cultural Industry Project, participated in this study that examines the practice of writing journal and students' ability to self-reflect. This study was initiated after having observed a significant number of students were not able to articulate and analyse their learning through their written reflection. For this study, three journal entries were collected and evaluated. The outcome of this research showed that by guiding students in their writing enabled students to be more analytical with their written reflection.
Building Students' Self-Efficacy in Creating Content for Visual Narratives 30 students from DDM2134 Moving Illustrations for Social Change module participated in this study that seek to address issues on students having low self- esteem and their need for frequent assurance, encouragement and guidance. Although teachers regularly offer encouragement and give praises in class, how effective are these actions and what effect does it have to students? This research examines the use of verbal encouragement, opportunities for collaborative work, practice experimentation, bonding and support provided by lecturers and peers to build students' self-efficacy in creating meaningful, relevant and relatable content for visual narrative?
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Research by Peh Mei Lian
Mentoring in Higher Education Arts Institution
Research by Yang Xiao Juan Marienne
Secondary/High School and Tertiary/Post-secondary education vary in various aspects. It can differ in ways as how classes were conducted, timetables planned and assignments given and assessed. Such differences coupled with the transition to tertiary art institutions can be refreshing but also challenging to students. The difficulty to adjust were evident with data that shows for the last 8 years first year students at NAFA have the highest attrition rate. The high rate of student attrition raised concerns. As such, this research evaluates whether having a class mentor for first year students helps bridge the gap between secondary and tertiary education.
Working with the Creatives: Practice-Led Information Literacy Sessions for Music Majors
Research by Wang Ming Shan
26 first year students from School of Music participated in the study on information literacy. In higher education learning, information literacy is not taught or part of the curriculum, but facilitated through library workshops for students. However, conducting such workshop can be challenging. This study examines students' current practices to address challenges on teaching information literacy. We investigate students' perceptions of learning a piece/song and what does learning involve? What are the various learning resources music major students use and how we can use this knowledge to improve their learning. Lastly, we study how practice-led learning such as workshops and lecture-recitals can better engage musicians.
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Feedback and Evaluation There were close to 900 views of the ARCH microsite spread out over a period of 7 days.
Readers were generally inclined to study research posters that were most relevant to their discipline and areas of teaching. Reactions on Research Topics Featured on microsite •
“I can incorporate the learning points into the modules that I teach.”
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“They are close to my heart and important to my profession.”
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“These are issues and topics that matters to my teaching.”
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“The research recommends something almost like role-playing and hypothesis to help learners self- actualize. This is in line with the "why" of my own research and preoccupation.”
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“They all involve heuristics in creative practices.”
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“The projects showed how reflections can improve our deeper understanding on today's students learning and our teaching methods.”
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“Understand about the core of the students directly, what do they need? how can our curriculum fits their needs?
Overall sentiments towards the ARCH research projects were positive.
Key takeaways from the ARCH showcase included a realization that colleagues are capable of research with the right resources, and the importance of continuously striving for something new within the routine ordinary that would stimulate and inspire.
Reactions about Research at NAFA
Inaugural batch of Action Research participants
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“The projects were varied and encouraged a foundation of research to begin at NAFA.”
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“All remarkably engaged in effort and authenticities of spirit.”
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“There are more topics we can explore and learn from each other studies.”
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“Keep probing for something new in our routine ordinary.”
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“Stimulating and inspiring.”
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“Spectrum of pedagogic interests with some of the most interested passions in teaching at NAFA.”
88% of the respondents rated research as important or extremely important for them. Feedback on why research is important •
“As an academic staff, research helps to fine-tune teaching processes and also can enable students to see that research is possible, even though it seems daunting.”
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“I can learn from the research and also to develop student's learning”
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“Research is a continuous process of finding and learning.”
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“It is important because it offered a new way of thinking about how to give students the power they already possess to evolve, in Michel De Certeau’s manner - to assist (readers) in uncovering for themselves “their own tactics, their own creations, and their own initiatives”.”
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Feedback on why research is important
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“It is important as this allowed us to look deeper and relook at how we can improve students' learning and their focus. We can't generalise how all think and learn the same way or they way we want them to be. The educators too, need to constantly improvise and review how they teach and deliver.”
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“Research is not about me, is researching for others. Staying neutral as we understand that not everyone believe in research, even if it is proven. So how can we solve it?”
Dr Joyce Koh going through the details
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Aspects of research relevant for teaching practice •
“Scoping the research topic, data collection.”
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“Both direct and indirect. Why is it working, why is it not working, why is it well received or badly received by the end user, etc”
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“Learning theories and its applications in teaching.”
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“Conceptual literacies, Creativity Heuristics.”
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“The aspects are knowing how to interact, understand better and to improve on my teaching practice to learners.”
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“Action - Improving. Are we improving our teaching? are we improving students' learning?”
One of many Action Research afternoon sessions
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REAP Issue 2 Pedagogy and Research Unit Office of Academic Affairs Nanyang Academy of Fine Arts 53
