Antecedentes de la investigación

The findings reporting the journey of an arts education partnership during the staging of high school musical in a professional venue have important implications and provide credible information to inform performing arts education, practice and further research. In this section, I offer a number of recommendations to further validate these outcomes and fulfill the purpose of this research.

One of the aims of this study was to provide a contextual example of an arts education partnership initiated from within a school. As discussed in Chapter 2, there is pervasive presence in the literature of research that had been based within school spaces and/or initiated from arts organisation and/or tertiary bodies, but very little from the perspective of

performing arts teachers currently working within secondary schools, and even fewer that described the experience of staging performing arts events within industry spaces. In

111 addition, many of the motivations of these studies are unclear (Hanley, 2003) where the voice of performing arts teachers appear as little more than background noise to that of the

researcher’s perspective. It is important to note that the value of this body of literature is not being questioned here. However, the dearth of research on these types of projects within the arts education partnership literature does validate the importance of more school initiated projects in order to create a space for alternate views of partnerships that offers a deeper understanding from an educational/pedagogical perspective.

Consequently, this study was intended to speak to performing arts teachers who may (like me) be experiencing similar challenges in negotiating arts/education partnerships. Fundamental to this research purpose was to disseminate the findings amongst teachers and tertiary training institutions to encourage the use of autoethnographic and action research approaches that explore why barriers to partnerships (including unhelpful stereotypes) still exist. By claiming a more equal voice in the arts education research conversation, teachers can better define the needs of education within these partnership contexts, which is required for more substantial and mutually beneficial partnerships to occur in the future (Burnaford, 2001).

The second recommendation is to arts industry training bodies to include an

‘education ready’ module as part of the standard training of industry personnel. The purpose of the training would be to develop a better understanding of the specific needs of education groups and the enhanced role that industry personnel play in successful partnerships (both in schools, industry and wider community spaces). Furthermore, it would aim at shifting the cultural view of working on education events from just ‘something that you have to get through’ while waiting for jobs with more ‘kudos’ to come along to ‘something to look forward to’.

The partnership experiences of the venue participants in this study, raises the question of whether a formalized, regulated component of industry professional should include a role of ‘industry mentor’. The prospect of an industry mentor role as part of the normal training and expectations of industry personnel working with schools is new and to my knowledge not described in previous arts education literature. However, if more schools adopt site-specific partnerships in the future, industry organisations should provide appropriate training for technicians who work in these contexts. Moreover, schools may be more inclined to approach a venue that promotes itself as being ‘education friendly’ and qualified to work with school groups. It is also incumbent on schools and teacher training organisations to ensure that performing arts teachers are appropriately trained and ‘industry ready’ to work effectively

112 within professional performance venues. The insights provided in this study only describe a fragment of what this new and expanding relationship could look like in the future. More detailed research that supports and further explores the creation of industry mentors, similar to the teaching artist movement (Booth, 2003) would make a valuable contribution to arts partnership literature.

Another key consideration outside the scope of this study but worthy of further consideration is to assess the feasibility (fiscal and otherwise) of school performing arts events that utilise performing arts industry personnel to fill vital production roles. The researcher is aware of a view—alluded to by Van Houten (1999)— that the cost of hiring industry professionals is ‘out of reach’ for many schools, and that exclusively using school staff to fill vital production roles is the more financially sustainable approach. However, the apparent savings made from this practice stem from an outdated model in which generous staff give up their time to stage shows with minimal budgets. Furthermore, many schools who exclusively use school staff to fill vital production roles in an attempt to save money may be at risk of false economy because the actual costs of this practice have not been honestly investigated and accounted for. A first step to rectify this problem is to assesses what the actual costs associated with staging school performing arts events are. A future study on the feasibility of staging school performance events should also take into account the impact staging shows has on school staff and include a more robust consideration of the ‘real-costs’ of staging quality (pedagogical and aesthetic) theatrical events. Only when we have a considered and evidenced-based understanding of the impact that staging performing arts events have on school staff, may we accurately assess the ‘real-costs’ of utilizing industry professionals as part of the regular landscape of producing school performing arts events.

This research demonstrates how an education driven arts initiative conducted within an industry space can be a mutually beneficial enterprise. The partnerships within a

professional venue connected both students and teachers to a ‘real-world’ experience where they were able to taste what the professional performing arts industry was really like

(Pridham & Deed, 2012). One of the main aims of this research is to provide a framework for schools who are attempting to understand and therefore overcome/avoid the challenges associated with these types of partnerships. Consequently, schools that want to take on this challenge can use the lessons learnt in this study for initiating, navigating and creating a shared space within a variety of related arts education contexts. It is hoped that this framework not only encourages more schools to initiate similar ventures within industry

113 spaces but also to document these partnerships experiences via reflective journals and in- depth interviews and contribute this knowledge to a growing body of literature that surrounds arts education partnerships.

A positive first step to rebalance the inequity and isolationism that exists in arts education in Australia, and to bring all the key stakeholders to the ‘table of conversation’ on ways to foster inclusive partnerships between the two sectors may be the release of a joint statement similar to Arts Education for America’s Students: A Shared Endeavor. The statement would call for mutual responsibility to be taken in arts education through partnerships between schools and the arts sector. The participating institutions would be asked to make a commitment to act together in the improvement of learning instruction and practices. Only when all the stakeholders: arts educators, community arts providers and non- arts educators are present in the conversation can the vision outlined in this study be realised.

It takes great risk, hard work and perseverance to move beyond the safety of the traditional school boundaries into a foreign industry space. However, as this research study demonstrates, if both groups (industry and education) are prepared to invest time and self- awareness, then the development of mutually positive partnerships when working with industry people in industry spaces is achievable and rewarding. Furthermore, the placement and visibility of these types of performing arts events will over time propel the prevailing views held by industry and education professionals towards the ‘other’ into a more exciting, dynamic and permeable space of mutually inclusive and beneficial partnerships.

114

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