The day’s atmosphere was vibrant and upbeat; the air was filled with excitement as fellow art and music colleagues chatted in delight, catching up animatedly, sharing their stories.
Attended by almost a thousand delegates, comprising school leaders and representatives from our arts partners, the biennial Arts Education Conference (AEC) 2016, organised by the Singapore Teachers’ Academy for the aRts (STAR), felt like a celebrative home-coming for the Singapore arts teaching fraternity.
As Mr Ng Chee Meng, Minister for Education (Schools) & Second Minister for Transport entered the Grand Copthorne Waterfront Ballroom to the music of Dr Bernard Tan’s spirited “Can Do!” Overture, he was greeted by enthusiastic applause from the audience.
His presence was appreciated as strong support for arts education. Minister Ng’s speech was a powerful affirmation of the importance of the arts in the holistic education of every child, and the social impact of the arts in shaping community. In support of quality art and music learning in schools, Minister Ng emphasised the importance of teacher agency - to take ownership of their professional learning.
Art and Music brings people together.
When we come together in a common space to exchange, understand, experiment and challenge ideas, we generate innovative content that deepens connections among people in the community. It is this very process of collaboration that builds shared experiences and stories.
Where stories are shared, communities are built.
When we share our stories of joy and struggles of teaching, we create opportunities for meaningful professional learning. Reflecting on first attempts at pedagogical instructions and teaching strategies leads to exchanges of different approaches that enlightens one to solutions. Inspiration is thus drawn when success stories are recounted.
Narratives are powerful in shaping identity.
Have we been heartened by a personal story of an arts educator? And wished we had come to learn of this powerful narrative earlier, to be encouraged or enlightened?
Stories of courage, resilience and beliefs in teaching build trust within the community. They strengthen professional identity and inspire others to do the same for the fraternity.
Minister Ng closed his address encouraging the fraternity to work with arts partners, and contribute our collective personal stories to the larger Singapore story. In so doing, we build a strong teaching community.
Despite being a self-professed student without music background, Minister Ng gamely role-modelled risk-taking in learning as he accepted the on-the-spot “challenge” to participate in a performance with the T’ang Quartet.
Having received his “just-in-time” lesson from the cellist of T’ang Quartet, Minister Ng confidently performed Chan Mali Chan in well-timed rhythm with the quartet! His beaming face as he played was a great expression of the joy of learning!
His fearless effort received thunderous applause and encouragement from all in the audience, who sang and clapped along. Truly, the sense of support and community during the short but energetic performance brought out key symbolic ideas of the conference theme, Create, Collaborate and Transform!
Watch Minister Ng perform Chan Mali Chan with the T’ang Quartet
To present the journey of professional learning and reflective practice, the conference also featured an exhibition thoughtfully curated by Mr Lee Pheng Guan, Senior Academy Officer, Art and Mr Desmond Seah, Academy Officer, Music. The vibrant visuals speak of learning, thoughtful conversations, teacher-leadership, and fundamentally, the professional camaraderie within the fraternity. As a gesture of support, Minister Ng also penned his contributions on one of the exhibition panels titled “Collaborate”, drawing his favourite childhood character, the “Ultraman”!
Browsing STAR’s Music publications and pedagogical resources over coffee
A highlight of the exhibition is the booth for STAR’s latest publication, Portraits II: Narratives of Singapore Arts Educators produced in collaboration with Straits Times Press. Bringing in perspectives from 16 arts educators and their unique professional journeys, Portraits II articulates the collective identity of the art and music teaching fraternity.
“ Music can give them an avenue, and I have seen these students transform. ”
- Mr Loo Teng Kiat, Lead Teacher for Music, Zhenghua Primary School
“
Technological know-how can speed up this [learning] process and really democratise the learning experience. ”
- Mr Murugesu Samarsan, Senior Teacher for Music, East View Primary School
Distinguished music educators featured in Portraits II
“
It is a nuanced art, teaching. Everything you say and do… communicate(s) what you want as a teacher and your hopes for the students. ”
- Mrs Tan-Chua Siew Ling, Master Teacher for Music
On the launch of the book, Minister Ng said, “I strongly encourage all of you to create your own stories of success, and share these stories so others may learn and be inspired… be the difference in our students’ lives. Be an advocate for arts teaching; show how arts can make a difference to the hearts and minds of our students.”
The short ceremony opened with an artfully woven photo-story of pedagogical leadership and capacity-building, conceptualised collaboratively by Ms Sheryl Sim, Academy Officer, Music and Ms Pang Ming Ing, Academy Officer, Art. Through the joyful images of teachers-in-action, one comes to a realisation that peer exchanges, beyond professional capacity, builds trust and respect.
Music STAR Champions (Primary)
Music STAR Champions (Secondary)
Networked Learning Communities STAR Associates (Video Coding Project)
Teaching Living Legends Beginning Teacher Support Programme (Music)
Music Teacher Practitioner Programme
Music Training for Generalist Teacher Cross Level Deployment Course Arts Education Conference 2016 Presenters (Music)
The AEC was a convenor of rich conversations within the fraternity, mixed with fresh outsidein perspectives from our overseas friends and deep insights from local arts educators and practitioners on pertinent issues relevant to our Singapore classrooms and arts industry.
This biennial homecoming is significant in the collective exchange of ideas and sharing of diverse perspectives. It engenders, and is also a catalyst that gives wings to new thinking to continually shape arts education and arts teacher leadership in Singapore.
Threading the learning after a full day of keynote addresses, spotlight, concurrent sessions and a plenary, was Mrs Rebecca Chew, Academy Principal, who convened the conversation to encourage and inspire. The day ended with a mega we-fie of the fraternity!
Mr Aarne Saluveer, Founding Artistic Director of the Estonian TV Girls’ Choir and Principal of Georg Ots Music High School, Tallinn, Estonia, presenting the Music Keynote, Songs of Estonian People: Identity and Singing
Ms Pamela Jordan, President of Idyllwild Arts Foundation, United States of America sharing on the artist process and teacher leadership for arts educationUsing the Artist Process to Make the Invisible Visible
Mr Hsieh Fu Hua, Chairman of National Gallery Singapore and Chairman of United Overseas Bank Limited, presenting the Keynote Address: Art and Ways of Knowing
The design of the conference programme began with the question: how can the programming provide directions for music teaching in the 21st century?
The musical landscape of today is vastly different from the one many of us grew up in. Even as musical experiences change radically with technology, music making with fellow human beings continues to create powerful experiences that deeply impacts.
Indeed, music connects us with one another, be it singing in a choir, playing in an ensemble, band or orchestra, whether for rehearsal or performance. The sense of esprit de corps where each one matters and contributes to a larger collective whole can be transformative. Such musical experiences foster friendships, develop strong classroom ties and school community bonds. Over time, they develop social-emotional awareness and self-identity of students.
As music educators, how do we design and facilitate musical experiences that are rich and nurturing, and at the same time create in students an appetite for innovation and creativity? How do we develop in students, critical thinking and dispositions to appreciate multiple perspectives, anchored by sound values that last them well beyond their school years? How might we tap on one another’s expertise to improve our teaching practice?
Such, is our inquiry as music educators as we embark on this journey to develop 21st century student readiness. The following three key strands would thus anchor our inquiry, moving forward:
• Forging identity through the arts
• Design for effective pedagogy and musical flow
• Inquiry through teacher collaboration
Music is a powerful means of expressing identities.
As music educators, we play a crucial role in shaping our students’ identities through formal and informal music learning experiences. Even as we work towards encouraging the growth of musical self-identity of our students, how do we also engender a stronger sense of belonging and community, and foster in them a deeper sense of Singapore identity?
Have we ever commented about a student being unmusical or tone-deaf? Music teachers hold great responsibility to our young charges’ musical self-confidence. Our remarks and actions which show up in our personal beliefs and perceptions of musicality, might unwittingly dent the musical confidence of our students.
Professor Graham Welch, Established Chair of Music Education, UCL Institute of Education, London, affirms that everyone is musical, given the opportunity. He shared the importance of physiological and neurological considerations in music teaching and learning in the development of a healthy musical self-identity.
Professor Welch highlighted that teacher-effectiveness is key in the musical development of a child, and shared the following observable dispositions of an effective teacher:
• Situates students’ learning and their own learning in active and reflective practice that provides opportunities for demonstration, rehearsal and foci on skill development.
• Gives feedback around tasks that have appropriate challenge, with opportunities to experience success and a sense of growing mastery.
“ Perhaps, we should revisit our pre-existing processes and allocation of resources to consider if and how we can provide more opportunities for our students to receive targeted and personalised instruction through their music lessons and co-curricular activities. ”
How can we harness the positive effects of teacher-effectiveness in our music classroom, and our music co-curricular groups?
Professor Welch sharing his research findings and its implications for music education
Children’s Instrumental Learning and its Wider Benefits
Mr Aarne Saluveer, Founding Artistic Director of the Estonian TV Girls’ Choir, is also the Principal of Georg Ots Music High School, Tallinn, Estonia. An educator and active figure in Estonian’s music life, the message during his keynote address was clear: Music singing and songs are the sustenance that has shaped and continues to shape the national identity of the Estonian people.
Singing has always been an integral part of the Estonian culture. Estonians are bonded by a common repertoire of songs; songs for different seasons and occasions. These traditional songs are passed down from one generation to the next. Children, parents, grand-parents, and great grandparents know these songs by heart and are able to sing together at festivals and events. This is probably one of the reasons to Estonia having one
of the world’s largest folk song repertoire despite having having only gained independence in 1991 after decades long of foreign dominance.
The Music Keynote began with the performance of Mu süda, ärka üles (Wake Up, My Heart) performed by the Estonian TV Girls’ Choir. The song is an Estonian folk hymn arranged by Cyrillus Kreek (1889-1962) that resonates with every Estonian as a song of national awakening.
Today, the tradition of singing is very much kept alive in the Estonian music classrooms. New songs are commissioned, learnt in schools, sung at communities, and presented at the monumental event, Laulupidu (Singing Festival).
Laulupidu takes place once every five years, in which more than 30 thousand choristers and up to 80 thousand supporters from all over Estonia would come together and sing, both familiar folk tunes every generation of Estonians know by heart and the newly commissioned songs.
Such phenomena did not happen overnight. Composers, choral directors, performers, and music educators, have taken up the moral authority and responsibility to preserve their cultural heritage. Taking its roots through music teaching in schools, a sense of national spirit and identity is built through songs.
“ Music teachers are magicians and messengers who hold the keys to the eternal freedom of the minds. ”
- Mr Aarne Saluveer, Music Keynote, AEC 2016
Mr Aarne Saluveer sharing with teachers, the story of the Estonian Singing Revolution, and how singing and songs are an integral part of the identity of the Estonian people.
“Imagination is key to making music alive,” said Mr Saluveer, as he shared his thoughts on the role of the Music teacher and conductor in developing and sharing the music learning of students.
The Role of a Conductor and Music Teacher
• Discover talent and give space to grow
• Improve singers’ ability to build their individual vocal palette
• Find a way to combine singers’ individual sound with the choir
• Introduce different sounds of every style and historical music period
• Build unique “own” sound of the choir
• Be a musical and social leader
• Discover the spirit of music
• Reflect time – history and today’s vibrations
• Communicate with performers, composers and audience – every moment, everywhere
“ I am now inspired to conduct more community singing in school besides the few times during national and cultural celebrations. I am also inspired to sing more Singapore folk songs during community singing to foster a sense of belonging to the nation. ”
- Mrs Adela Tandar, Subject Head (Arts) Juying Primary School
“ We should never underestimate the unity of the voice and the joy of singing in a class, a school or a community setting as this is where it starts. ”
- Mrs Clara Sng, Subject Head (Aesthetics), East Spring Secondary School
Watch the performance of Mu Süda, Ärka Üles (Wake up, My Heart) by the Estonian TV Girls’ Choir
Songs of Estonian People: Identity and Singing
How shall one imagine the Singapore sound?
Singapore has always celebrated cultural diversity. Perhaps propelled by the recent milestone 50 th jubilee of the country, the discussion of a Singapore sound by our arts practitioners through their musical endeavours has become more foregrounded.
As music teachers, even as we engage our students through their musical preferences, it is equally educative to expand their musical diet and inject in them an interest and appreciation for the diverse musical cultures alive in our own neighbourhoods. This interest may just be the seed that inspires them to participate and contribute to the Singapore sound in the future.
To increase Chinese music’s accessibility and relevance to Singapore’s youths, Mr Quek Ling Kiong, Resident Conductor of the Singapore Chinese Orchestra (SCO) and Music Director of the Singapore Youth Chinese Orchestra (SYCO), shared how SCO commissions works by Singapore composers, dedicated to teaching music concepts and elements for the young audience.
Through innovative programming which makes Chinese music come alive, the SCO has built a strong audience base for its interactive young people’s concerts. The appeal and accessibility of Chinese orchestra music has also broadened. Perhaps equally significantly, SCO is also creating a repertoire of Chinese orchestral music that originates and concerns the Singapore audience such as our very own Pulau Ubin!
Seeding the Music Audience of Tomorrow
Working with an eclectic mix of pipa, sheng, cello, guitar, synthesiser and voice, The TENG Ensemble looks like a visual mix of Singapore diversity. According to the ensemble’s
Dr Samuel Wong sharing the ensemble’s use of music of yesteryear as inspiration, creating pieces that are accessible to the young while invoking a sense of nostalgia among the older Singaporeans.
“ (The TENG Ensemble) injects new elements into traditional culture and created something uniquely Singapore. ”
– Prime Minister Lee Hsien Loong, National Day Rally, 2015
Artistic Director, Dr Samuel Wong shared how The TENG Ensemble’s journey towards a Singapore sound through their use of “heritage songs”, started as an “accident”.
The ensemble started with arrangements of familiar tunes and evergreens that both the young and old are acquainted with. It turned out that his music arrangements struck a deep chord with many Singaporeans. Determined to improve their music-making, the ensemble actively sought and incorporated feedback from their professional counterparts and their audience. What better feedback than that from the grounds, the “Uncles and Aunties” of the heartlands - the perfect acid test of accessibility to the masses!
The collaborative elements in his composition process has more than paid off; evident from the audiences’ resonance to the Ensemble’s voice. Imagine a Singaporean sound that fuses elements from the East and West, traditional and contemporary song-writing.
The TENG Ensemble – Reinventing Tradition, Advocating and Promoting Accessibility
Mr Marvin Leung, Senior Specialist (Music), Arts Education Branch, sharing song-writing strategies using the ‘Musically Singaporean’ app
With rapid technological advancements, experiencing learning and even creating music, is easily accessible at various platforms, to students from different musical backgrounds and prior experiences.
Harnessing on the potential of technology, Marvin Leung, Music Senior Specialist and Alisa Pan, Arts Education Officer from the Arts Education Branch, Student Development Curriculum Division, presented how the app “Musically Singaporean” nurtures students’ musical and compositional voice. The platform engages students in active song-writing by breaking down the processes into bite-sized learning activities using technology. The app has been well-received in schools, and teachers have observed positive reception and increased student motivation towards song-writing.
Teaching and Learning with the “Musically Singaporean” App
Music performances are often some of the best ways to experience and appreciate the distinctive identities and sounds of a culture and people. The conference participants were treated to vibrant performances by the Estonian TV Girls’ Choir, T’ang Quartet and The TENG Ensemble.
The impeccable and spirited performances of these three musical groups not only showcased a range of diverse repertoire that demonstrated the artful blend of folk and classical aesthetics, but also spoke intimately of how music relates to stories of our past, present and the future.
Founded in 1990, the Estonian Television Girls’ Choir has developed into one of the world’s best youth choir under the leadership of the choir’s Founding Artistic Director, Mr Aarne Saluveer. The choir actively collaborates with renowned local composers to promote folk-inspired vocal works to engender national spirit and identity through songs.
Watch the Estonian TV Girls’ Choir perform Sampo Tagumine / Forging the Sampo by Veljo Tormis
The choir presented a specially curated repertoire of Estonian folk music with a special feature on Veljo Tormis (b. 1930), whose use of traditional folk materials as his source of inspiration brings forth the voice of Estonians.
Mr Saluveer accompanying the Estonian TV Girls’ Choir on Estonian traditional instruments
Veljo Tormis’ advocacy for the revival of folk music was first sparked in 1959 when he attended a traditional wedding with old folk songs and dances. This episode ignited his passion and commitment to the integration of cultural inheritance with post-modern musical language.
Tormis has said of the role of folksongs in his music, “I don’t use folk melody – folk melody uses me.” Drawing heavily upon the rich folk text and legends from Estonia and its surrounding, Tormis’ works gave a new lease of life to Estonian folk songs, giving it a fresh sound while presenting them as authentically as possible.
T’ang Quartet. Ground-breaking. Cutting-edge. Artistically impeccable.
The quartet’s musical dexterity shone through in their performance of Goude’s Le Diverti Se Ment and arrangement of the all-time local favourite, Chan Mali Chan – which cleverly blended elements of East and West, seamlessly reinterpreting classical and traditional works for contemporary fans.
Watch T’ang Quartet’s innovative arrangement of Chan Mali Chan
The TENG Ensemble aims to be a leading and inspirational contributor to a Singaporean sound that is current, innovative, visionary and urban.
The ensemble’s skilful arrangements of traditional tunes are true to their musical philosophy of bridging the traditional and contemporary, East and West, and the old and new, giving its music a distinctive Singaporean sound.
Watch The TENG Ensemble perform Childhood, an arrangement of Ikan Kekek, Burung Kakak Tua, Ni Wa Wa (Mud Doll) and San Lun Che (Tricycle)
Have you ever experienced this: your favourite music was on, and while you were immersed in it, it stopped abruptly in the middle of a musical phrase?
The musicians in us are likely to be disturbed by the break in musical flow. Such is an example of how flow affects musical experiences. As music teachers, we can be mindful of musical flow when we facilitate music learning as it impacts students’ musical experiences and engagement.
How can we as music educators, design lessons that allow students to enjoy musical flow, so that they are engaged in music learning, body and soul, holistically? How do we design lessons that would provide a safe incubating space to explore and experiment so students become immersed in the flow of learning?
“ May everyone, regardless of age and background, sing and express one’s self and music freely, with not only the voice, but with the whole being, with joy and happiness! ”
- Ms Sanna Valvanne, Choral Conductor, Sing&Shine Kids
Ms Valvanne, conducting a workshop on creative and holistic singing experience through playful vocal and group dynamic exercises
Ms Sanna Valvanne, Choral Conductor of Sing&Shine Kids, certainly lives up to her motto. With her infectious enthusiasm, Ms Valvanne rolemodelled how musical flow in the classroom could be effected through scaffolding and thoughtful transitions between pedagogical moves.
Some strategies she introduced
• Stories create imaginative and authentic contexts for learning of songs. For example, she incorporated skiing and wood cutting movements that serve as effective ways of keeping pulse to singing. She also weaved in stories about common activities in Northern Europe from where she came.
• Role characterisation in stories provides fun ways to explore vocal ranges. Creating characters of a young lady, a woodcutter and a child, made the singing of a three-part song less daunting and more fun.
• Understanding elements of music through experience; introducing musical terms such as crescendo and diminuendo as they were experienced in songs enhances musical flow.
The session saw our teachers moving, singing, dancing and best of all, smiling, laughing and pushing inhibitions to sing away! Our teachers experienced first-hand, how leading singing with children can be so creatively woven with movement, drama, improvisation, imagination and creativity for a holistic singing experience.
“ Sanna has created an environment which is non-threatening, encouraging and very much positive. ”
- Mrs Jessica Lim, Senior Teacher (Music), Edgefield Primary School
“ We played with vocal games and sang songs together with body movements. We were unconsciously led through vocal warm-ups as we were busying, playing with “vocal games” such as imitating funny scales or arpeggios. The concepts of “Play” and “Experience” were very evident… She had created a safe environment for the participants to sing and make music together.
In school, our students, especially students in their teens, are often too conscious to sing. They are afraid of being judged. We could awake the love of singing in our students through creating non-judgmental environments and fun filled experiences. We can never underestimate the power of play. ”
- Ms Lim Hwee Sian, Lead Teacher (Music), Cedar Girls’ Secondary School
The issue of the challenges of the 21st Century music classroom for music educators, in particular, preparing students for a rapidly changing world, has been much debated. Dr Leonard Tan, Assistant Professor, Visual and Performing Arts, National Institute of Education offered new insights to developing 21st century competencies and educational goals through the General Music Programme and Co-Curricular Activities (CCA) in Singapore schools.
Comparing the musical experiences and learning of band students in the United States of America and in Singapore, Dr Tan found that longer practice hours may not always translate to “flow” experiences in music, nor bring about higher levels of motivation.
He pointed out the importance of deep learning, and the positive effects of satisfying musical experiences in the development of 21st century dispositions in our students. In his sharing, Dr Tan encouraged us to reflect and ponder over the design of our music lessons and CCA programmes.
On Motivation, Grit, and Flow: Impacting 21st Century Music Classrooms through Research-based Pedagogies
In our music classes and CCAs, do we
• Encourage reflection?
• Encourage grit to stay committed to what they are working on, not to be discouraged by setbacks?
• Facilitate flow?
• Encourage individual mastery goals?
• Make effective use of healthy competition between groups / teams?
Indeed, less is more. Perhaps it is timely to reflect on our CCA programming and the musical experiences that we offer our students.
“ My two key takeaways:
I. Qualities of self-reflection and grit are important dispositions for musicians; and
II. Healthy competition amongst groups of students are the best ways of motivating them.
This will mean increasing opportunities for team competitions in our activities... where healthy competition can positively impact the process and outcomes of our students’ musical learning. ”
- Ms Kok Zhiying, Music Coordinator, Temasek Junior College
When teachers come together to inquire purposefully into their teaching practice, they generate conversations and learnings that go straight to their core area of interest: engaged student learning. Drawing from one another’s insights and experiences, teacher collaboration is a powerful way to engender a professional learning culture.
Collaborative inquiry can take various forms; within and between school departments, between schools and beyond schools. Collaboration amongst music teachers are even more critical as many of us work alone in our schools. Thus, teacher-leaders serve as nodes of influence to engender such professional learnings and networks.
This strand highlights teacher collaboration that inquire into a range of issues that matter to music teaching, from developing a singing culture in schools, to mentoring.
by Pei Tong Primary School
Mr Lim Zi Kai, Music Coordinator & Mr James Ng, Music Teacher; and Tampines Primary School
Ms Ang Chea Ing Allen Losey, Music Coordinator & Mrs Tan Shee Cher, Music Teacher
Under the mentoring of Mrs Li Yen See, Master Teacher (Music), the music teachers of Pei Tong Primary School and Tampines Primary School came together to inquire their teaching practice to make students’ learning of music engaging and exciting.
Using the Engaging with Songs Programme as a platform, the teachers engaged in weekly discussions on lesson ideas to better their pedagogical and scaffolding processes.
From their professional dialogues, the teachers gained new strategies and reframed their understanding of musical engagement. For example, they learnt how to analyse songs with a pedagogical lens, to find varied ways to teach music concepts.
Mr Lim Zhi Kai and Mr James Ng sharing their pedagogical approaches to teaching singing and developing a schoolwide singing culture
Ms Ang Chea Ing Allen Losey sharing her professional learning experiences of inquiry and collaboration
“
Songs are introduced in a variety of ways, e.g. body percussion, movement, storytelling, musical games and dramatisation, thus increasing students’ engagement within the music classroom. ”
- James Ng, Music Teacher, Pei Tong Primary School
In their collaborative journey, teachers from Tampines Primary School shared their key learnings:
a School-wide
The power of collaboration is essentially about having critical friends to offer observations, insights and constructive feedback, to strengthen us to become a more reflective practitioner.
Developing a School-wide Singing Culture through Teacher Inquiry and Collaboration
by
Mrs Rebecca Loke, Senior Teacher (Music), Temasek Secondary School, Mr Xie Zhizhong, Music Coordinator, Chong Boon Secondary School & Mdm Tan Teing Im, Music Coordinator, Queenstown Secondary School
In August 2016, seven teachers came on board a learning journey to the ISME 2016 Conference in Glasgow, Scotland with Mrs ChuaTan Siew Ling, Master Teacher (Music).
During their learning journey, the members shared their learning and reflection at the end of each day. Inspired and encouraged, the teachers embarked on their inquiry projects, each with its distinct approach towards enhancing music teaching and teacher leadership.
Under the guidance of Mrs Tan-Chua, Mrs Rebecca Loke, Senior Teacher (Music) collaborated with fellow Senior Teacher, Mr Sim Kok Heng from Edgefield Secondary School; each sought to investigate students’ learning through the use of ICT and informal learning approach for music composition.
Informal Learning Approach in ICT-based GMP Music
Through weekly post-lesson reflective discussions on student outcomes and teacher moves, both Senior Teachers had several Aha! moments during their journey of collaborative inquiry. Rebecca Loke shared her renewed perspectives on students’ “musicality” and how that has changed her attitudes towards teaching and learning. Rebecca now places more importance on the students’ cognitive processes over the end-product, and has renewed her definition of musicality as students’ musical awareness and ability to manipulate elements of music.
Mr Xie Zhizhong took on the challenge to collaborate with arts partners to further deepen his pedagogy of a cappella singing in his school. Through facilitation strategies, he unpacked the music-making processes with students, and then gave them space to collaborate, apply and experiment with the musical processes. He was surprised by how much the students rose up to the challenge and became more self-confident, and how positive musical identity was enhanced, through the collaboration.
Collaborative Inquiry with A Cappella Artists
Mdm Tan Teing Im took a different approach and applied the inquiry process in the context of mentoring. Using an auto-ethnographic approach, Mdm Tan reflected on her mentoring journey with a Beginning Teacher
Constantly battling with herself, Teing Im dwelled upon two key questions:
• How can I develop my mentee’s ability to selfreflect?
• What guidance can I provide for my mentee’s learning? And how?
Her strong conviction and commitment to helping an aspiring beginning teacher was clearly evident, as she shared her efforts to break down milestones to bite-sized tasks for her mentee to experience success and build confidence.
Her takeaways as an effective mentor:
• Use guiding questions to help the mentee reflect critically on his/her teaching
• Find out the strengths and weaknesses of the mentee
• Use lesson demonstrations to role-model
• Provide opportunities to experience success to build self-confidence
Mentoring –An auto-ethnography
In closing, Mdm Tan shared her personal motto as a mentor, we must believe that “Everyone has the ability to learn.”
“ What an amazing experience it has been!
I was able to dig deeper into the findings of my Critical Inquiry Project, to reflect thoroughly and distill the essential learning points that I feel was valuable to share with other music educators, with regard to engaging students in collaborative a cappella arranging processes opportunities for teacher leadership development, as well as a chance to collaborate with musicians in the local music scene to create new and authentic teaching programmes. ”
– Mr Xie Zhizhong, Music Coordinator, Chong Boon Secondary School on his presentation of his critical inquiry journey with local artists
“ Two words - encouraged and empowered, aptly describe how I felt as I journeyed with my team in preparation for the session. Being in the Community of Practice with my team that comprised music teachers who share similar beliefs and passion has deepened and stretched my personal learning and practice.
The learning experience led me to conclude that as we collaborate in team effort, with our unique personalities, different teaching styles and creative ideas, we can encourage and empower one another to become more engaging and skilful music teachers. ”
– Mrs Tan Shee Cher, Music Teacher, Tampines Primary School on her collaborative inquiry journey through the Engaging with Songs Professional Development Programme
Ms Cheong Suk-Wai Senior Correspondent, The Straits Times
Mrs Valarie Wilson Director, Arts Education, Student Development Curriculum Division
Mr Kenneth Kwok Director of Arts & Youth and Strategic Planning, and Covering Director for Capability Development, National Arts Council
Bringing further divergence to the Conference was the Plenary, which marked the closing segment of the conference. Moderated by Ms Cheong Suk Wai, the members comprised representatives from the Ministry of Education, National Institute of Education, tertiary institutions and industry practitioners. Each presented multiple perspectives and stories of how they saw the relevance of the arts for the future: where are we going with the pursuit of arts education?
A lively exchange ensued where every member attributed their success to the skills that they acquired through arts education: resilience, ability to see different perspectives, persuasive skills.
Mr Yang Tien Deputy Director (Makerspace) and Deputy Principal (Development)’s Office, Nanyang Polytechnic
Dr Eugene Dairianathan Head of Visual & Performing Arts, National Institute of Education
Dr Sydney Tan Music Director and Producer
Key areas emerged from the discussion:
Make arts education visible.
Bringing arts education to the foreground, and being a pervasive part of the school culture is a task entrusted to the agency of our arts educators. Our legacy as arts educators can be seen through the vibrant arts education in our schools.
Habit of mind formation.
Arts education contributes to the development of dispositions and habits of mind that will stand in our students’ good stead as they adapt to a future of unanticipated changes. As arts educators, we can create learning environments that foster habitats of mind formation!
Art is a process of finding out who we are.
Arts learning is essentially learning about ourselves. Arts learning provides powerful processes for us and our students to experience and express the richness of the human condition and identity, connecting us back to ourselves.
Share from unknown not only successes. While learning from successes are useful, sharing from the unknown, of the uncertainties, the errors and failures too, are instructive and translates to powerful learning.
Heroes with vision. If we take a moment, we may realise that we are surrounded by inspirational colleagues who are role-models to those around them. These heroes with the vision inspire us to believe that we too, can achieve our dreams!
Keeping the dream alive.
Most importantly, keeping our collective dream as an arts education fraternity alive gives us the strength and resilience to shape Singapore’s arts education of the future today.
Mrs Rebecca Chew, Academy Principal closed the conference by threading the day’s conversations with her trademark inspirational eloquence and exuberance.
On the value of arts education: she encouraged the fraternity to forge towards the future while anchored on the belief that arts education is a worthy pursuit that impacts each and every student that passes through our hands as arts educators.
She quoted from Professor Sullivan, “While we can agree on where to go, we should also agree that there are many ways to get there.” Indeed, while this pursuit serves as a unifying bond for the fraternity, each of us carries our own spark on the journey in our own unique ways.
With the dare to imagine and courage to reach beyond while being rooted in values, arts educators can shape an arts learning experience that becomes that treasure trove of fond school memories, that lasts a lifetime.
On professional learning: she was heartened by the fraternity’s desire for professional growth to deliver an arts education that prepares our students for the future. And be it in Singapore or in Estonia, we, arts educators “are in the same boat”, to build national identity, as she quoted Mr Saluveer. She assured arts educators of STAR’s support in continuing their professional growth, in collaboration with arts partners and organisations.
On forging the path of a uniquely Singapore quality arts education: it is a life-long journey of trying and trying again. It doesn’t matter if it doesn’t always work; in the process of trying, we can only fall, not fail.
Let us take heart, and embark on a new journey of collaborative inquiry towards good arts teaching.
