Dawn Bennett

Academy and the Real World: Developing Realistic Notions of Career in the Performing Arts.

Performing arts courses within the university sector retain a necessarily strong practical focus as they prepare graduates for work within a highly competitive environment. However, the reality for graduates is a world in which performance is only one component of the myriad activities required to build a sustainable career. This article reports findings from two studies which investigated work patterns, education and professional development of practising and intending musicians and dance artists. Data gathered using a questionnaire, focus groups and interviews reveal disparity between undergraduate curricula, the career expectations of students and the realities of professional practice. Alignment between the results of the music and dance studies suggests the potential for the collaborative delivery of both initial and lifelong education. The findings are discussed within the context of protean careers, and the article advocates the potential for practising artist academics to engage students in career development and the formation of their professional identities.

Understanding the Classical Music Profession : The Past, the Present and Strategies for the Future

Contents: Foreword Preface What lies ahead The cultural industries The musician Performance-based music education and training Cultural practice: visual and performing artists Out in the real world: the case for change Dilemmas and opportunities Bibliography Appendix Index.

Developing Musical and Educational Identities in University Music Students

The musical and educational identities of music students are often at odds with one another, and yet teaching plays a role in the working lives of almost all musicians. Similar conflicts arise when music education majors view themselves as either musicians or educators, but not as both. This article reports results from parallel studies in two urban universities, one in Australia and the other in the USA. Seventy-two participants contributed drawings and textual responses on three surveys administered across a semester. Surveys were designed to record emerging perceptions of musician and teacher identities. Results indicated that the musical identity presents first, and that it provides a framework for making relevant the pedagogical techniques and theoretical models encountered in education courses and initial fieldwork. The combination of textual and non-textual data provided insights that would not otherwise have been evident, including the suggestion that emerging music teachers construct their identities consistent with the ‘possible selves’ model of development.

Careers in Dance: Beyond Performance to the Real World of Work.

Abstract For the majority of undergraduate dance students, success is the realization of a career in performance; however, given that this will be the outcome for so few graduates, should this ideal be redefned? This paper draws on fndings from a case study of Australian dance artists, which sought to determine how dance artists allocate their working time and what skills they use to sustain their careers. Results reveal the multiplicity and diversity of roles in which Australian dance artists engage, and a corresponding need to include career development, self-management and small business skills within pre-professional dance performance programs.

The urgent need for career preview: Student expectations and graduate realities in music and dance:

Unlike the work available in many creative disciplines, musicians and dancers have the possibility of company-based employment; however, participants outweigh the number of positions. As a result, many graduates become “enforced entrepreneurs” as they shape their work to meet personal and professional needs. The similarities between initial music and dance careers offer opportunities for research across both. This article explores the career projections of 58 music and dance students who were surveyed in their first week of post-secondary study. It contrasts these findings with the reality of graduate careers as reported by five of that cohort four years later. In contrast with the students’ focus on performance roles, the graduate cohort reported a prevalence of portfolio careers incorporating both creative and non-creative roles. The paper characterizes the notion of a performing arts “career” as a messy concept fraught with misunderstanding. Implications include the need to heighten students’ career awareness and position intrinsic satisfaction as a valued career concept.

Survival skills: the impact of change and the ERA on Australian researchers

This paper reports findings from a study that focused on the experiences of research-intensive academics in relation to the Excellence in Research for Australia (ERA) Framework. Interviews with academic staff at different career stages and across all academic faculties followed completion of a short survey in which respondents compared their publishing behaviour before and since implementation of the new Framework. Respondents were highly conscious that ERA had prompted a shift in publishing behaviour to meet often competing demands of individual research interests, institution, discipline and the international research community. Indeed, the study revealed academics to be positioned in contradictory ways in relation to their research and publishing, heightened by the instability of the Frameworks assessment mechanisms. The experience of researchers up to, and including, the decision to abandon journal ranking provides valuable insights into the precarious and reactionary nature of academic research careers and the ability of both individuals and institutions to negotiate the rapid rate of change. These insights include tension between personal research priorities and ERA requirements, particularly in relation to writing for the most relevant audience, and concerns about the right to exercise academic freedom.

How artists working in academia view artistic practice as research: Implications for tertiary music education

Artistic research output struggles for recognition as ‘legitimate’ research within the highly-competitive and often traditional university sector. Often recognition requires the underpinning processes and thinking to be documented in a traditional written format. This article discusses the views of eight arts practitioners working in academia by asking whether or not they view their arts practice as research and, if they do, how it is so. The findings illuminate ways in which artistic practice is understood as research and reveal how the process of analytical and reflective writing impacts artist academics, their artistic and academic identities and their environment. The findings suggest a frame within which to advocate the equivalence of artistic research with traditional scholarly research. They also suggest a rationale for arguing against this, focusing instead (or perhaps as well) on a wider understanding of what constitutes knowledge. This has implications for academics, for students and for universities in recognizing the research inherent within arts practice itself, and in recognizing the value of practice-led writing in understanding and communicating new knowledge, new methods, and new definitions of research.

The use of learner-generated drawings in the development of music students’ teacher identities

Identity development is a continuous process framed within changing social contexts, and is particularly problematic for musicians and other artists whose work contradicts the mythologized image of the artist. The purpose of this article is to examine the professional growth of music students in relation to developing teacher identities. The article reports on the use of learner-generated drawings and journal reflections produced by music performance and education majors; in particular, the article probes students’ perceptions of teaching within a traditional career hierarchy that favours performance and artistic creation above all else. Whilst initial student drawings illustrated traditional images of the teacher as knowledge giver, these gave way to student-centred images in which students appeared to identify with teaching in new ways. The combination of textual and non-textual data provided insights that would not otherwise have been evident, and the consideration of ‘possible selves’ became a useful tool in the explorations of identity and career.

Electronic portfolios and learner identity: an ePortfolio case study in music and writing

Although the employability of graduates is of concern across further and higher education it is particularly problematic in the arts disciplines, from which few students transition to a traditional, full-time position. Arts graduates shape their work to meet personal and professional needs, and the successful negotiation of this type of career requires a strong sense of identity and an awareness of diverse opportunities. The challenge for educators is how we might develop these capacities whilst being mindful of students’ dreams, which are often focused on artistic excellence and recognition. This paper reports findings from a collaborative study undertaken at four Australian universities. With a focus on developing an electronic portfolio (eP), the study involved students in classical and contemporary music, music education, music technology, creative writing and professional writing. The combination of music and writing provided points of comparison to identify issues specific to music, and those that might apply more generally. This paper reports findings related to learner identity, drawing evidence from survey and interview data. The study, which was driven by the learning process rather than the technological tool, revealed that students’ use of eP transitions from archive to self-portrait. Moreover, the eP emerged as a vehicle through which identity is negotiated and constructed. Indeed, the process of developing of an eP prompted students to adopt future-oriented thinking as they began to redefine their learning in relation to their future lives and careers. These findings were common to all students, regardless of discipline or technological platform.

Moments of becoming: experiences of embodied connection to place in arts-based service learning in Australia

The experience of place in arts-based service learning (ABSL) is personal. It can be difficult to define and challenging to share and build upon. This paper, reporting from a national ABSL project involving three Australian universities, is concerned with experiences of place in forming professional teacher identity. Using a narrative methodology in presenting the stories of six people, pre-service teachers and Indigenous community members, the paper draws on a number of different theoretical frameworks to explore each participant’s experience and its longer-term impact on their thinking. The participant stories revealed the value of spaces between art-making, teaching, and research. The learning experiences led pre-service teachers to reflect deeply in relation to self and to consider the impact of their experiences on both current and future professional interactions. As anticipated, participants found it difficult to communicate these elemental experiences in the written word. The findings have implications for the value of flexible and critical service-learning approaches, particularly in diverse cultural contexts.