7.1 Introduction: Call Back
Words - the starting point for this critical journey, initiating my reflections and discussions, accompanying my numerous drafts and guiding my ongoing exploration. Words are
complicated, particularly within the educational realm where they intersect with various underlying educational philosophies. Words might also be considered one of the most divisive factors between cultures, requiring translations that can never fully carry all of their associated histories. Unpacking the meaning of words is an evolving process that is built upon reading, writing, rewriting, translation, reflection, re-translation and numerous
discussions involving other words that also do not quite carry shared meanings. In the process of writing a thesis, it can feel like these words are becoming more and more reductive,
particularly when they are re-formed into titles, abstracts, introductions, conclusions and the overarching research question: How do the former educational purposes of QOED teachers challenge their current approaches to teaching creativity and collaboration?
In the following sections, I summarise the research findings derived from the literature review, methodology and the discussions conducted throughout this study. I then present recommendations pertaining to the themes of educational purpose, curriculum design, teacher training and institutional socialisation of educational reform. Finally, I conclude the thesis with reflections on how these findings may provide a framework for future research directions in the field of tertiary dance education, in China and globally.
7.2 Literature Review: Quality-Oriented Education Dance in Need of a Theoretical Foundation
In Chapter 2, an examination of academic literature was conducted to explore various aspects related to teaching purpose, teaching creativity and collaboration, teaching difference,
teaching in China, and teaching dance in China. This literature review offered substantial conceptual and contextual support for the present research.
Merely basing education on an art form does not guarantee the occurrence of creativity and collaboration within an educational context. The initial section of this chapter demonstrated how a teacher’s sense of educational purpose significantly impacts their ability to sustain
their teaching practice. Clearly articulating the reasons behind the education and distinguishing it from other nearby but distinct educational purposes becomes crucial, particularly when creativity and collaboration are the desired outcomes. The appreciation of difference and diversity plays a central role in cultivating a creative atmosphere, as it allows for the emergence of a sense of becoming. This first half of the literature review emphasised the necessity of adopting a deliberately pluralistic mindset within an educational framework.
As highlighted in Section 2.6, the educational literature in China lacks comprehensive
theories on creativity and collaboration. Furthermore, there exists a persistent belief that such practices are merely imported pedagogies, perpetuating Western cultural dominance in China.
This underscores the significance of linking the theoretical principles of QOED with historical precedents in China and recognising the constructed nature of more authoritarian teaching methods.
A deeper exploration of Chinese historical educational theories revealed that the valuing of creativity, collaboration, difference and diversity can be found within the teachings of Confucius. This presented a substantial and valuable argument within China for educational reform, challenging the notion that these principles are solely borrowed from the West.
However, throughout China’s educational history, this appreciation of these principles has faced challenges. As evident in my subsequent analysis of examination systems in China, conformity and competition have been favoured as means of selecting individuals deemed valuable for state affairs. Consequently, a particular approach to student evaluation has dominated conceptualisations of educational purpose in China for centuries.
Although government policies related to education reform and Quality-Oriented Education in China provide an opportunity to advance the aspirations of QOED—creativity, collaboration, difference and diversity— I found that teachers remained uncertain about their role within this educational reform. Consequently, I argued that further investigation was required to understand how QOED teachers perceive difference and diversity and how these perceptions influence their facilitation of creativity and collaboration, which is the focus of this research.
7.3 Methodology: The Evolving Inquiry
One of the main findings derived from my research methodology was the evolving nature of my inquiry. This discovery stemmed from the data collection process, which involved
conducting semi-structured interviews and narrative inquiries. Initially, my research question revolved around exploring the impact of a metacognition of collaboration on teaching
practices among teachers of QOED in tertiary education in China. I aimed to explore teachers’ unique perspectives and understandings of collaboration, and how these views influenced their teaching methods. To guide this exploration, I employed a theoretical framework rooted in qualitative research and constructivism, which allowed for the emergence of new topics and themes during the interview process.
As discussed in Chapters 1 and 4 of this thesis, I realised that the teachers’ understandings of collaboration were less coherent and developed than I had hoped, noting, too, their
expressions of anxiety about not having confidently and fully transitioned into being a QOED teacher. Central to their concerns was uncertainty about what and how they should teach QOED, as well as the underlying reasons for teaching it. They acknowledged the significance of QOED in the context of educational reform in China; however, they felt less certain about their role as teachers within this process and how to justify the QOED curriculum to their institutional leaders, colleagues and students.
This study therefore explored the challenges faced by dance educators who had previously engaged in an authoritarian and didactic teaching model but were now transitioning to a model that aimed to promote the creative independence and interdependence of their students. Based on the interview findings, it became increasingly clear that QOED teachers had conflicting perceptions regarding difference and diversity, and how these perceptions influenced the opportunities provided for students to appreciate and value each other’s creative contributions. This led to the formulation of the following overarching research question: How do the former educational purposes of QOED teachers challenge their current approaches to teaching creativity and collaboration?
In addition to formulating and unpacking the research question, the methodology also considered the researcher’s position within the research process, as both an insider and outsider due to my experiences in both New Zealand and China in terms of learning and teaching. The chapter addressed the translation process employed to ensure the fidelity and original meaning of the interviewees’ narratives, as well as the maintenance of participants (interviewees) confidentiality and anonymity to uphold ethical considerations. The chapter also acknowledged the challenges and limitations encountered during the research.
For data analysis, a thematic approach was applied, leading to the identification of three main themes in the process:
• How QOED teachers experience transformations and challenges when teaching QOED, especially in fostering collaboration.
• How QOED teachers value difference as a concept within QOED, and how they perceive and manage differences between students.
• How the teaching of collaborative group work further seeks to diminish difference.
In the following sections, I provide an overview of the essential findings discussed in the chapters pertaining to each of the three themes.
7.4 Transformation, Challenges - Complexities
The findings presented in Chapter 4 highlighted how QOED teachers perceived and valued QOED as an inclusive framework that fostered creativity and supported all learners. They emphasised the importance of dismantling social hierarchies in the classroom to empower students to communicate and contribute ideas, challenging traditional notions of authority and inferiority in learning. However, the interviewees also highlighted that this pedagogical approach faced significant challenges from educational leaders, colleagues, and students.
Concerns arose from how QOED classes were perceived within the broader context of dance education in China, leading teachers to question their own abilities and feel inadequate in meeting the needs of QOED.
Despite recognising the importance of collaboration and valuing each student’s contribution, teachers often defaulted to established practices that reinforced learning hierarchies among student groups. Managing peer relationships within the class thus emerged as a recurring concern, causing uncertainty in the implementation of QOED.Consequently, the research focused specifically on this issue, exploring how teachers navigated the complexities of facilitating group creative endeavours within the QOED context. It examined how teachers perceived and appreciated differences among students during creative tasks, contrasting this with their broader perceptions of learner differences. The analysis identified the mechanisms employed by teachers to suppress the growth of differences, particularly when managing group tasks, which stemmed from the tension between their previous pedagogical purpose to be productive and the desired purpose of QOED.
7.5 Difference is Valuable vs Difference-as-Deficit
Chapter 5 focused on the concept of difference in the context of learners’ creative self- expression and the perceived attributes and capabilities among learners. It built upon the concept of creative learning (discussed in the literature review), which highlights the
connection between learners’ ability to recognise and value difference and their experience of creativity.
The findings revealed a discrepancy in how difference was valued, which can be understood in terms of two opposing educational perspectives: the learner as a creative agent and the learner as a dance student. In creative classes, unexpected outcomes were seen as valuable and were often referred to as “accidents” or “surprises”. Teachers deliberately encouraged learners to explore the differences in their ideas, considering them as potential sources of creative inspiration.
However, in the context of tertiary dance training, teachers perceived difference primarily in terms of the gap between learners and an ideal dancer. This difference was primarily
measured in terms of the distance from a standardised physical appearance and capability; a distance that was seen as a deficit. Consequently, teachers attempted to conceal these differences by implementing training regimes that aimed to make learners as similar as possible and grouped them together in homogenous classes to minimise comparisons.
Learners were aware that they were being judged according to a certain standard, and this negatively affected their self-perception. Moreover, teachers’ perceptions of difference shaped the way that they interacted with students.
It was noted in this discussion chapter that the perception of difference-as-deficit aligns with the deficit notion of students as “not-yet” and “in-need-of” certain abilities, reflecting the temporal gap between students and teachers. Education is seen as a means to bridge this gap, justifying the focus on reducing differences. The interview data revealed that teachers are expected to possess not only theoretical knowledge but also high dance skills, further emphasising the perceived deficit between students and teachers’ physical capabilities.
Overall, the findings highlighted the complex dynamics of valuing difference in creative self- expression and dance education. Difference was celebrated in creative contexts but often viewed as a deficit in the pursuit of an ideal dancer image. Reconciling the notion of
difference as a valuable quality that fosters creativity posed a challenge for these teachers because they worked in large tertiary education systems that prioritised uniformity and conformity to an ideal standard.
7.6 Diminishing Difference: The Focus of Productivity, Hierarchy and Similarity in Collaborative Work
In Chapter 6, I examined how QOED teachers’ perceptions of difference discussed in Chapter 5 shaped their approaches to cultivating peer relationships within the important collaborative setting of independent small group tasks in the curriculum. Here, I focused on the teachers’
understanding and perceptions of group work, leadership, formation of groups and group decision making.
This examination revealed QOED teachers’ lack of distinction between different aspects of small group tasks and peer-learner relationships. In some instances, my interviewees seemed to show a limited awareness of cooperative versus collaborative approaches and did not differentiate between learning processes and resulting products. This signalled confusion, highlighting the need for a clear understanding of collaboration and metacognition of collaboration among educators.
The study found that interviewees viewed leaders as an inherent aspect of group formation, assuming their presence to be unchangeable. While there was recognition among some teachers about the importance of leaders in upholding diversity, their belief in the indispensability of leaders influenced how equity and diversity were perceived among learners. Findings also suggested that the formation of groups lacked standardisation, with group selection methods ranging from randomisation to forming homogeneous or
heterogeneous groups based on perceived differences. However, these differences were often viewed as deficits, hindering the appreciation of diversity within the QOED framework.
In terms of group decision making, my interviewees sometimes supported what they believed to be the perfect choice among those laid out before the learners, rather than embracing diverse perspectives. They acted as arbitrary decision makers, mediating differences and aligning outcomes with normative expectations. Some recognised the importance of valuing differences within decision-making processes, but overall, the lack of clarity impacted
learners’ perceptions of each other and of the value of diversity. Establishing a clearer educational purpose for collective decision making in QOED teaching is necessary.
7.7 Teaching Someone to Fish: Recommendations for Quality-Oriented Education Dance
Giving someone a fish is not as good as teaching someone to fish (
授人以鱼，不如授 人以渔
)--
老子
Laozi Should education involve giving students fish, or teaching students how to fish? Theeducational purpose in China has long been focused on the practice of giving students
immediate knowledge, a paradigm akin to providing them with fish. This approach, rooted in the historical dominance of the imperial examination system, has presented significant challenges for educators in understanding why they now need to teach learners how to fish.
That is, teaching learners how to generate, not just consume, knowledge. The present study investigated the purpose of teaching creativity, diversity and collaboration, highlighting the crucial need to first understand the educational purposes underlying these areas before determining what and how to teach them.
Based on the research findings, it is recommended that educational policymakers consider the purpose of teaching as a fundamental aspect, as it greatly influences how educators perceive the purpose of their own instruction. Particularly in the context of this study, it was evident that teachers’ understanding and valuing of diversity and difference significantly impacted their ability to effectively teach creativity, collaboration and diversity. As educational reforms progress in China, it becomes imperative to design curricula that address the understanding and valuing of difference and diversity, enabling teachers to successfully achieve the agenda of teaching creativity and collaboration.
Furthermore, the research findings indicate a need for improved teacher training in the field of QOED. Activities that facilitate teachers’ explicit comprehension of the concepts of difference and diversity can aid their future teaching endeavours. It is crucial to cultivate a clear understanding among teachers of how diversity is deeply intertwined with notions of creativity and collaboration. A thorough exploration of theories related to creativity,
collaboration and difference can assist teachers in identifying the purposes behind teaching these concepts within the QOED classroom. This, in turn, will benefit both aspiring teachers in training and current QOED teachers who will go on to educate students in a university context.
To accomplish the goals of educational reform in China, collaboration among various subjects and institutions is also essential. Such collaboration can enhance dance teachers’
comprehensive understanding of their subject within a broader framework, ultimately fostering innovative outcomes within the scope of this educational reform.
7.8 Future Directions for Research
In future research, it is crucial to recognise the emerging nature of QOED as a minor pedagogy aiming to reform dance education in China by fostering the development of learners’ creative and collaborative capabilities. Further theoretical development in this field becomes imperative. This development could involve a critical examination of the
educational purpose underlying QOED and how it necessitates a deliberate reconstruction of previous purposes that focused on conforming to an idealised standard for all learners, shifting the focus to valuing and embracing differences.
While this thesis primarily explored the perspectives of teachers, it paves the way for additional research inquiries regarding how learners perceive and experience differences within the context of QOED and tertiary dance education in China. Exploring questions such as: how might learners perceive differences within themselves and their journey of
transformation into new and uncertain ways of being through creativity, and how might students perceive differences among their peers as potential sources of creative discovery?
These inquires would significantly contribute to our understanding of the educational significance associated with embracing difference and fostering creativity.
In order to broaden the scope of this research, future investigations could consider
explorations of teachers’ perspectives and comprehension regarding the concept of difference within the context of fostering creativity and collaboration in teaching in various countries across the globe. Furthermore, it would be valuable to conduct research on how learners perceive differences within themselves and their process of evolving into new and uncharted realms through creativity, and on how students view differences among their peers as
potential catalysts for creative exploration in higher education institutions across various countries.
Within the realm of tertiary dance programmes, it is recommended that future research incorporates intercultural and historical studies, as learnings and understandings of dance, creativity and education in differing cultural contexts and eras can support a deeper understanding of the complexity and significance of dance education.
7.9 Final Words
Words.
I can vividly recall the moment when my son, Lukas, uttered his first word, "mama".
Although he may not have comprehended its meanings at the time, it marked the beginning of his recognition of me as his mother. Fast forward to today, Lukas has progressed to forming complete sentences and using both English and Chinese words to express his thoughts.
Occasionally, he employs one language to clarify the meaning of sentences in the other.
Words, then, seem to have become an essential means of rationalising the meanings of sentences and understandings, including research within this thesis.
Words are the genesis of my curiosity and my research journey. Now, the time has come to bring this expedition to a close, relying once again on the power of words. One of my
interviewees articulated, “QOED is a novel approach, a fresh methodology. QOED embodies a concept known as ‘xin’ [新; new]”. This notion of "new" encompasses innovation,
creativity and a fundamental transformation of the dance paradigm in education. Echoing the sentiments of another interviewee,
Dance was once confined within a close-knit community, limited to our own circle.
Now, with the introduction of QOED, dance has expanded into the larger society, within the realm of mainstream education. It is no longer simply about physical dance education.
To construct and deconstruct this nascent concept, it unavoidably entails the utilisation of supportive theories and methodologies, as explained by another interviewee,
One of the most crucial deficiencies in China lies in the absence of core theories that align with the objectives we aim to accomplish in QOED. While Professor Lv has
contributed numerous theories, there is still a need for further expansion and enhanced methodological support. Professor Lv is like someone who has laid the foundation for us to build a house; now we need to construct upon it.
Thus, this thesis has provided essential building blocks for these construction endeavours.
Their significance is profound, as they hold the potential to shape the ultimate outcome of the house. However, the thesis is not just a contribution, but an integral part of the entire house- building process. As emphasised by one interviewee, “Dance is a holistic integration; it transcends mere words”.