What does good visual art teaching look like? : A case study of the perceptions of four visual art teacher educators in a Malaysian higher education setting

This study explores the perceptions of four visual art teacher educators of what constitutes good visual art teaching in a Malaysian higher education setting. The aim of this study is to deepen our understanding of the characteristic features of good visual art teaching in a higher education setting. The study explores the beliefs, values, and life shaping factors that underpin and inform the teaching practice of these visual art teacher educators. What constitutes good visual teaching in higher education has intrigued and challenged those concerned with this sector for many decades and is subject to on-going inquiry and debate. Perspectives of what constitutes good visual art teaching practices are shaped by individual, social and cultural factors, including those pathways taken through visual art education and training. Consequently there is little consensus about what good visual art teaching really looks like. Whilst the characteristic features of good teaching in higher education have been the subject of recent inquiry, the literature concerning good visual art teaching in higher education is limited. This study aims to address this gap. This study adopts a qualitative case study approach and draws on the principles and practices of narrative inquiry. In this study, four visual art teacher educators who have different backgrounds and areas of specialisation from the Art Department of the 'University of Education Malaysia' were interviewed and observed. Each visual art teacher educator participated in a series of three interviews in order to interrogate their beliefs, values and experiences, and access their accounts of good visual art teaching. Observations of each visual art teacher educator's teaching served to triangulate the data generated through interview. In order to obtain a better understanding of the phenomenon, 12 student teachers consisting of six pre-service and six in-service final year student teachers from the same department were interviewed using individual and group interview. Narrative analysis and analysis of narrative techniques were employed in the examination of the data. From this analysis four narrative accounts of these visual art teacher educators' perception of good visual art teaching in a higher education setting were developed. Findings suggest that teaching is shaped by prior experiences as learners in school, community, and tertiary settings, and understandings of the professional teaching situation. For these participants the personal and professional are connected in their lives. This connection is illustrated through the distinctive ways that each visual art teacher educator approaches their teaching and the different beliefs and values they hold. For those participants whose education and/or current practice is studio-based, mastery of art skills and knowledge is of primary importance in good visual art teaching. For these participants good visual art teaching is a specialised area which requires specific knowledge and skills. For those participants whose education and/or current practice is theory based, good visual art teaching is not only about mastery of art skills and knowledge but also involves mastery of pedagogical content knowledge and practical knowledge. Despite these apparent differences in beliefs and practices, concern for pedagogical content knowledge is a feature of the work of all four participants. For all visual art teacher educator participants, lifelong learning through self-reflection, inquiry, peer reviewing, involvement in on-going professional development and continuing education is a hallmark of good visual art teaching. In addition all visual art teacher educator participants view good visual art teaching as a relational activity. This study provides us with insights into the complexity of good visual art teaching from the perspective of the visual art teacher educator. This study has developed ways to listen to visual art teacher educators' voices and to hear them in their own terms, to observe them, to enter their realities, and to see the world from their perspectives. This is deemed as important because in the Malaysian experience, more often than not, visual art teacher educators' teaching practice and their lives have been largely unexamined and taken for granted. The worldviews, stories, and teaching practices we enact are cultural constructions that have become part of the fabric of our everyday lives. Through this study an understanding of the beliefs, values and life-shaping factors that underpin and inform these visual art teacher educators' teaching practices provides us with new understandings of their work in Malaysian teacher education.