Purposive sampling was used to select the participants, who were four 9th grade creative arts teachers. The findings of this study indicated that teachers were not adequately trained to use elements of popular culture in the creative arts and that many teachers were not involved in the design of the new curriculum.
Introduction
Much of the reluctance and confusion surrounding the inclusion of popular culture stems from a lack of understanding (Morrell, 2002). Given its roots and ethos, any study of popular culture must start from and serve the interests of members of marginalized groups (Morrell, 2002).
Background
Some of the purposes of the creative arts learning area are as follows: to develop creative and innovative individuals as responsible citizens, in line with the values of democracy under the Constitution of South Africa, to provide access to creative arts education for all students as part of redressing historical imbalances and developing an awareness of national culture to promote nation building, Msila (2007). Creative arts as a learning area have taken over popular culture (Msila, 2007), and what experiences teachers have in the creative arts is a concern that this study aims to explore.
Problem Statement
He also stated that popular culture is the result of a complex historical relationship between economics and demography. According to Morrell (2002), these theorists saw popular culture as a site of struggle between subordinate and dominant groups in society.
Research objectives
What is teachers' understanding of the elements of popular culture in the teaching of creative arts in ninth grade. How elements of popular culture influence teaching and learning in creative arts in ninth grade.
Research design and methodology
It also introduces the study by providing the history of curriculum change in South Africa and the definitions of popular culture as well as a statement of the problem. The last part of the chapter will include the limitations and conclusion of the study.
Conclusion
The purpose of the chapter is to review the current literature on teachers' experiences in teaching folk culture in the creative arts in 9th grade and the theoretical framework that supports the study. According to McMillan & Schumacher (2006), literature review is essential for increasing the clarity of the research problem.
International context
Many teachers are unknowingly learning about popular culture (hip hop) through the rapport they build with their students (Collahan and Grantham, 2012). I would also explore why teachers have the experiences they have to incorporate elements of popular culture such as hip hop and rap.
National context
As a result, teachers are often de‐moralised, frustrated and lose interest in the subject (Browne, 2011). In an African context, teachers sometimes find obstacles in the implementation of the new curriculum, as justified by Fraser-Thomas and Beaudion (2002) in their study of teachers' implementation of a new curriculum (a secondary school's physical education curriculum).
Local context
I would further explore why teachers have the experiences they have in relation to teaching popular culture in the Creative Arts. I will focus only on the experiences of creative arts teachers of grade 9 in the implementation of the curriculum (Creative arts – elements of popular culture).
Synthesis of Literature review
Many studies have been conducted on students' experiences and engagement with popular culture, but the issue of teachers' experiences of implementing popular culture in teaching creative arts remains an ongoing challenge in many schools. Others have focused on exploring the role of students in promoting the inclusion of popular culture in their creative arts learning.
Theory of Curriculum change advocated by Fullan (1992)
- Factors which affects the success of effective Curriculum implementation
- Focus on teachers
- Training and support
- Clarification of the curriculum
- Complexity
The successful implementation of a new curriculum depends on whether all its consumers are well informed about it (Mbingo, 2006). Furthermore, teachers must be provided with the materials that are suitable for the implementation of the new curriculum because materials can negatively affect the implementation of the curriculum.
Curriculum implementation approaches
Fidelity (Traditional) approach
Mutual approach
In this approach, both parties/partners are aware and clear of the goals and objectives of the new curriculum. Teachers must be developed to meet the needs and appropriateness of their learners' needs and to meet the demands of the new curriculum.
Curriculum enactment
Curriculum change models
The Adaptive model of curriculum
Power-coercive / Adoptive model
General objectives of the South African curriculum are expressions of what are considered to be knowledge, skills and values worth learning. Changes in the curriculum also relate to the training of teachers to be agents of change.
Conclusions
Introduction
Explain to teachers their understanding of their change in self-confidence as a result of their experiences teaching popular culture.
Research Design and Methodology
Qualitative lens
Qualitative case studies aided in understanding the deeper meaning of popular culture in the creative arts, as well as teachers' understanding of popular culture. This study aimed to gain an in-depth knowledge of popular culture in the creative arts in grade 9 and especially the experiences of teachers teaching creative arts, and was therefore conducted within the qualitative framework (Denzin & Lincoln, 2003).
Research Paradigm
The statement above justifies the fact that only the creative arts teachers could be able to give and interpret their own experiences of teaching popular culture in the context they are in and assign meaning to them. According to Patton (1990), purposive sampling was the method used when a researcher selects his participants (who are information rich) based on the essential purpose of the study; in this case, the criteria are the creative arts teachers currently teaching 9th grade students in one of the secondary schools in KwaZulu-Natal in 2014.
Location of the Study
The context in which the research was conducted specifically concerns the four Year 9 Creative Arts teachers at Khethokuhle Secondary School, located in Mayville in KwaZulu-Natal. It is a shame that three out of four Creative teachers are not trained as Creative Arts Specialists.
Profile of the teachers (Participants)
- Introduction
- Interviews
- Observations
- Documentation review
Each of the above data collection methods used in this study will be discussed. In this study, I observed the actions and behaviors of the CA teachers as they occurred in the participants' environment.
Ethical considerations
Attention was thus given to the notions of consent, confidentiality and consequences of participation (Cohen, Manion & Morrison 2007, 382). I will therefore throughout the research process try to ensure that the rights of the teachers being studied are not compromised in any way.
Limitations
Potential participants were given a consent form to sign, containing details of the study with the option to participate and/or withdraw at any given stage of the research. The principal and the participants were visited to arrange the days and times that would be suitable, so as not to disturb the smooth running of the school.
Conclusion
Prior to the interviews, permission to conduct the study was obtained from the participants (i.e. Department of Education, the Schools' Management Team and Grade Nine Creative Arts teachers).
Introduction
Data analysis and findings
Unreflective, inflexible curriculum
Moreover, it is very important that the values of people from popular culture are included in the school curriculum. According to the findings, this is one of the main challenges of teaching popular culture in Grade 9 classrooms because the cultures and traditions that students come from are present.
Influenced by modern technologies
In other words, the study of popular culture offers an opportunity to understand how a politics of pleasure addresses students in a way that shapes and sometimes secures the often conflicting relationships they have with both schooling and the politics of everyday life (Giroux & Simon, 1989). In other words, the study of popular culture offers an opportunity to understand how a politics of pleasure addresses students in a way that shapes and sometimes secures the often conflicting relationships they have with both schooling and the politics of everyday life.
Lack of orientation and skills
This is evident when looking at the teachers' responses above, they all complain about the unavailability of the resources needed in the implementation of the creative arts curriculum (ie the element of popular culture). Based on the answers above, it shows that more orientation needs to be given to teachers who teach popular culture in schools at the moment.
Theme 2: Barriers which hinder the teaching and learning
Lack of teaching and learning resources
This was experienced by some of the participants in the teaching of folk culture in the 9th grades, they were frustrated and afraid to learn a part of the new curriculum (ie folk culture) because they have not received any training. Teachers should be supported by training workshops and given more guidance on how to teach popular culture in their classrooms so that they have a clear picture of how they are coping with the implementation of the new curriculum.
Lack of motivation and self confidence
The data show that it is very important to have enough resources for teaching creative arts in schools. Those teachers who are not trained to teach the creative arts (especially popular culture) cannot be confident about the knowledge that the subject area includes.
Conclusion
At the same time, popular culture cannot be ignored because it points to a category of meanings and affective investments that shape the very identity, politics and culture of the creative arts with which students engage. Subjectivity and identity are partly constituted on the basis of popular culture, and their power and effects do not disappear once students enter school (Giroux and Simon, 1989).
Summary of the study, conclusions and recommendations
Introduction
Summary of the study
Teachers’ experiences in teaching popular culture in Grade 9 at a Secondary School in KwaZulu-Natal
Conclusion
Consequently, students do not develop holistically, and as such, one of the fundamental outcomes of the arts curriculum, namely contributing to the “holistic development of all students” (DoE 2002a, 1), is not realized. Another aim of the national curriculum, which is to “develop lifelong learning skills in preparation for further education and employment” (DoE 2002), cannot be achieved either.
Recommendations
The research found that, according to teachers' experiences, the Ministry of Education was disappointingly failing previously disadvantaged schools and teachers. The schools do not have the right resources and the teachers are not sufficiently qualified and capable to teach the elements of popular culture in the creative arts.
Final conclusion
What kind of training have you received related to teaching popular culture in Creative Arts. What type of popular culture in Creative Arts do your learners seem to be enthusiastic about or respond well to.
Observation Guide
