title: Looking for the Tikanga in technology education

authors: Knoef, Bernard John

subjects: Maori

abstract: This dissertation is dedicated to understanding how it would feel to be disconnected from their own past and devalued as a race by colonialism; that is, how would it feel to be Māori in my class?
This dissertation aims to support New Zealand teachers of Technology to better understand how they can create a curriculum for Technology that is more connected to aspects of Māori culture and in doing so improve learning outcomes for Māori. At the same time it explores how Pākehā students could gain a better understanding of the tikanga that guides the essence of what it means to be Māori and what it means to be an honourable Treaty partner with Māori. The 1840 Treaty of Waitangi laid the foundation for a formal respectful relationship between Māori and the British and for the introduction of British rule of law. Despite the intentions of the Treaty being one of equal partnerships between the British and Māori, the Treaty did not eventuate to be the equal nor mutually beneficial agreement that was anticipated by Māori.
Today visible disparities, that exist for Māori across society, are evident in Māori learning outcomes in Aotearoa New Zealand secondary schools. This research explores my own praxis in secondary technology education in collaborating with Māori to incorporate tikanga Māori (Māori customary values and practices) into the classroom. A focus on tikanga and Technology provides opportunities to develop improved understandings of more inclusive learning contexts. This dissertation histories the identity evolution of me, the researcher. The process I utilised is a method of self-examination and identity construction for other technology teachers who want to improve their practices in teaching students who are Māori. This study describes a repositioning process of how I took ownership for self-improvement. To enable an emphasis for this, there is a particular focus on the Nature of Technology strand of the New Zealand Curriculum (Ministry of Education, 2007, 2017). Pacey (2001) discusses the possibilities of a more people-centred technology with a participatory, ethical experience of technology that values people as well as their environment. In Aotearoa New Zealand, a teacher is encouraged to take personal responsibility for their engagement with an official curriculum (MOE, 2007).
My students and I have embarked on a number of projects that are localised both within our community and in wider society. These projects required us to have an understanding of tikanga. Mead (2016) requires that for educators and leaders to be more effective in what they do, they need to know the protocols that are drawn from the basket of knowledge called tikanga. My research explores ways to aid teachers develop understandings of Te Ao Māori (The Māori world) and the cultural world of Māori learners, with a view to promoting teaching that engages respectfully with, the knowledge of tikanga Māori in New Zealand Technology classrooms.
I have completed many years of teaching, much of which has been in the curriculum area of Technology. I have managed this with only a limited amount of supporting knowledge and understanding of how tikanga Māori could be appropriately and meaningfully, woven into my practice and the practice of my fellow Technology teachers as a result of my leadership. I am non-Māori and have practised as a teacher in New Zealand secondary schools for 29 years. Together with my students, we recently completed a number of Technology projects that involved learning about significant aspects of Māori culture including tikanga Māori. One whole school technology project was to build Te Whare Iti o Te Ako (The Small House of Learning) for our local early childhood centre. Because of this project and other related experiences, I have had the chance to reflect at a very personal level. I have had the opportunity to identify the gaps in my understanding of indigenous knowledge, but also through students participating in these projects, I have witnessed a tremendous engagement of curiosity for learning from both Māori and non- Māori about tikanga Māori. Accordingly, this research study seeks to answer the following questions and supports my intention to become more effective in what I do and how I practise as a non-Māori teacher with both Māori and non-Māori learners.
● As a non-Māori teacher, what did I learn about and from, including tikanga Māori into my pedagogical praxis as a teacher of technology?
o Who did I learn this from and how did I learn this?
o In what ways did these experiences contribute to my understandings of Te Ao Māori?
o How might my experiences support other teachers of technology?
I use Autoethnography to undertake this research which allows me to produce meaningful, accessible and evocative research that is grounded in personal experience (Ellis, Adams & Bochner 2011).

text: Looking for the Tikanga in technology education This dissertation is dedicated to understanding how it would feel to be disconnected from their own past and devalued as a race by colonialism; that is, how would it feel to be Māori in my class?
This dissertation aims to support New Zealand teachers of Technology to better understand how they can create a curriculum for Technology that is more connected to aspects of Māori culture and in doing so improve learning outcomes for Māori. At the same time it explores how Pākehā students could gain a better understanding of the tikanga that guides the essence of what it means to be Māori and what it means to be an honourable Treaty partner with Māori. The 1840 Treaty of Waitangi laid the foundation for a formal respectful relationship between Māori and the British and for the introduction of British rule of law. Despite the intentions of the Treaty being one of equal partnerships between the British and Māori, the Treaty did not eventuate to be the equal nor mutually beneficial agreement that was anticipated by Māori.
Today visible disparities, that exist for Māori across society, are evident in Māori learning outcomes in Aotearoa New Zealand secondary schools. This research explores my own praxis in secondary technology education in collaborating with Māori to incorporate tikanga Māori (Māori customary values and practices) into the classroom. A focus on tikanga and Technology provides opportunities to develop improved understandings of more inclusive learning contexts. This dissertation histories the identity evolution of me, the researcher. The process I utilised is a method of self-examination and identity construction for other technology teachers who want to improve their practices in teaching students who are Māori. This study describes a repositioning process of how I took ownership for self-improvement. To enable an emphasis for this, there is a particular focus on the Nature of Technology strand of the New Zealand Curriculum (Ministry of Education, 2007, 2017). Pacey (2001) discusses the possibilities of a more people-centred technology with a participatory, ethical experience of technology that values people as well as their environment. In Aotearoa New Zealand, a teacher is encouraged to take personal responsibility for their engagement with an official curriculum (MOE, 2007).
My students and I have embarked on a number of projects that are localised both within our community and in wider society. These projects required us to have an understanding of tikanga. Mead (2016) requires that for educators and leaders to be more effective in what they do, they need to know the protocols that are drawn from the basket of knowledge called tikanga. My research explores ways to aid teachers develop understandings of Te Ao Māori (The Māori world) and the cultural world of Māori learners, with a view to promoting teaching that engages respectfully with, the knowledge of tikanga Māori in New Zealand Technology classrooms.
I have completed many years of teaching, much of which has been in the curriculum area of Technology. I have managed this with only a limited amount of supporting knowledge and understanding of how tikanga Māori could be appropriately and meaningfully, woven into my practice and the practice of my fellow Technology teachers as a result of my leadership. I am non-Māori and have practised as a teacher in New Zealand secondary schools for 29 years. Together with my students, we recently completed a number of Technology projects that involved learning about significant aspects of Māori culture including tikanga Māori. One whole school technology project was to build Te Whare Iti o Te Ako (The Small House of Learning) for our local early childhood centre. Because of this project and other related experiences, I have had the chance to reflect at a very personal level. I have had the opportunity to identify the gaps in my understanding of indigenous knowledge, but also through students participating in these projects, I have witnessed a tremendous engagement of curiosity for learning from both Māori and non- Māori about tikanga Māori. Accordingly, this research study seeks to answer the following questions and supports my intention to become more effective in what I do and how I practise as a non-Māori teacher with both Māori and non-Māori learners.
● As a non-Māori teacher, what did I learn about and from, including tikanga Māori into my pedagogical praxis as a teacher of technology?
o Who did I learn this from and how did I learn this?
o In what ways did these experiences contribute to my understandings of Te Ao Māori?
o How might my experiences support other teachers of technology?
I use Autoethnography to undertake this research which allows me to produce meaningful, accessible and evocative research that is grounded in personal experience (Ellis, Adams & Bochner 2011).

year: 2019

title: Indigenising the Screen, Navigating the Currents of Change, a Vision of Fourth Cinema

authors: Bristowe, Joseph Curtis

subjects: Māori Knowledge

abstract: This thesis tests the hypothesis that it is possible to both decolonise and Indigenise the New Zealand cinema screen. Secondary research explores how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. It has been argued that these discourses of race, gender and religion have predominantly perpetuated negative belief systems about Māori, have contributed to the reproduction of stereotypical images of Māori, and that alternative structures of belief will be necessary in the field of cultural production. 
This thesis stems from this essential argument, and is fuelled by the researcher’s own desire to demystify, decolonise and Indigenise the New Zealand screen through the development of a Kaupapa Māori based strategic framework to inform/guide Māori scriptwriting/filmmaking practice. Drawing upon academic research, intimate cultural knowledge and the practice of creative writing, this thesis will explore the case that when thought and action are focused effectively through an applicable and practical Indigenous framework, an expression of collective identity based on individual qualities will deliver a better approach to Māori scriptwriting/filmmaking practice. This case will be developed and examined.

The case also depends on arguing that supposedly progressive representations of Māori in mainstream New Zealand films since the mid-1980s are not an incremental advance towards Fourth Cinema, because Māori subjectivity in film had still not been reconnected with a self-efficacy belief system based upon Indigenous foundations. The alternative approach effectively materialises strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of a majority and, in doing so, offers a collective vision for Fourth Cinema or Indigenous Cinema as advocated by the late Barry Barclay who campaigned for an Indigenous filmatic base grounded firmly in the philosophies, concepts and practices of the people. A tantalising larger question is whether specific strategic frameworks (e.g. in differing national contexts) tap into a common base of ‘Fourth Cinema’ values and philosophy, a base that then deeply affects all aspects of practice, from idea generation to narrative structures or the handling of time.

This thesis shall therefore be largely focused upon attempting to define and determine the foundations of an Indigenous knowledge system, and then upon how such definitions can revitalise those foundations for effective application in a contemporary context. Such an approach is founded upon the belief that what we are lacking in the Māori world is not the quantity of Māori knowledge; there is a veritable plethora of Māori knowledge still available. My research will seek to demonstrate that what is lacking is sufficient qualitatively powerful contemporary thought that yields ‘reflections’ contained in that knowledge, i.e., appropriate insight into their contemporary application.  This view is supported by the words of noted Māori Scholar Charles Royal (2002):

A key aspiration of all indigenous people is cultural survival. This means the perpetuation of our knowledge, our traditions, our worldviews, our philosophies. What this requires, however, is not so much the simple use of traditional knowledge but research into its principles, its fundamental view on reality and the creative application of those views in the contemporary context. Otherwise indigenous knowledge will remain merely historical phenomena, a museum curio bearing little relevance to the contemporary experience of indigenous peoples. (p. 11-12)

Importantly, I will examine the proposition that the more we discover, examine and utilise Māori knowledge, the more we will grow to understand new ways to create, design and fashion contemporary applications of this knowledge. Therefore, what is required and what should be of impetus to present day Māori scholars is a new spirit of enquiry, into the evolution of Indigenous knowledge systems and more specifically in this context, their role in relation to filmmaking processes. Such a belief is supported by the words of noted Ngāti Porou tohunga (expert in traditional lore) New Amsterdam Reedy (2011) who in relation to the application of Māori knowledge systems stated emphatically, ‘It’s not about how far back we can go, it’s about how far we can take it into the future.’ 

Such an approach is where I will argue the true revolutionary and emancipating thinking lies. Therefore, and of equally important significance, this thesis through the discussion of Māori knowledge and its contemporary application also engages debates surrounding the further development of Kaupapa Māori theory and more specifically, locates this within a filmmaking framework. In this way, Kaupapa Māori theory, as much as it is employed in this study is also subject to a self-reflective analysis and critique, therein providing an original contribution to the current literature in Kaupapa Māori theory and filmmaking and consequently developing a more comprehensive understanding of both fields of study.
For I will contend that Fourth Cinema is an effective way to understand the other, engage in new and integrated ways of thinking and living, and recognise how different bodies of knowledge, traditional or modern, Indigenous and Western may coexist for common purpose and mutual benefit. For this is the integrated and inclusive space where the complexity of the relationship between the colonial and post-colonial truly exists, one which brings together essential and non-essentialist post-colonial theoretical paradigms as well as Indigenous knowledge and contemporary Western knowledge systems thereby bridging worlds that, at first, seem to be strangers to one another, but may be more connected than they are different.

text: Indigenising the Screen, Navigating the Currents of Change, a Vision of Fourth Cinema This thesis tests the hypothesis that it is possible to both decolonise and Indigenise the New Zealand cinema screen. Secondary research explores how those discourses that promoted roles and expectations for Māori within the New Zealand film industry were based principally upon historical colonial ideologies imposed by various means upon the native populous, and subsequently reproduced. It has been argued that these discourses of race, gender and religion have predominantly perpetuated negative belief systems about Māori, have contributed to the reproduction of stereotypical images of Māori, and that alternative structures of belief will be necessary in the field of cultural production. 
This thesis stems from this essential argument, and is fuelled by the researcher’s own desire to demystify, decolonise and Indigenise the New Zealand screen through the development of a Kaupapa Māori based strategic framework to inform/guide Māori scriptwriting/filmmaking practice. Drawing upon academic research, intimate cultural knowledge and the practice of creative writing, this thesis will explore the case that when thought and action are focused effectively through an applicable and practical Indigenous framework, an expression of collective identity based on individual qualities will deliver a better approach to Māori scriptwriting/filmmaking practice. This case will be developed and examined.

The case also depends on arguing that supposedly progressive representations of Māori in mainstream New Zealand films since the mid-1980s are not an incremental advance towards Fourth Cinema, because Māori subjectivity in film had still not been reconnected with a self-efficacy belief system based upon Indigenous foundations. The alternative approach effectively materialises strong anti-colonial perspectives aimed specifically at subverting long-held and dominant colonial discourses. Such an approach rejects the tradition of being defined, constructed and represented through discourses that serve to promote the interests of a majority and, in doing so, offers a collective vision for Fourth Cinema or Indigenous Cinema as advocated by the late Barry Barclay who campaigned for an Indigenous filmatic base grounded firmly in the philosophies, concepts and practices of the people. A tantalising larger question is whether specific strategic frameworks (e.g. in differing national contexts) tap into a common base of ‘Fourth Cinema’ values and philosophy, a base that then deeply affects all aspects of practice, from idea generation to narrative structures or the handling of time.

This thesis shall therefore be largely focused upon attempting to define and determine the foundations of an Indigenous knowledge system, and then upon how such definitions can revitalise those foundations for effective application in a contemporary context. Such an approach is founded upon the belief that what we are lacking in the Māori world is not the quantity of Māori knowledge; there is a veritable plethora of Māori knowledge still available. My research will seek to demonstrate that what is lacking is sufficient qualitatively powerful contemporary thought that yields ‘reflections’ contained in that knowledge, i.e., appropriate insight into their contemporary application.  This view is supported by the words of noted Māori Scholar Charles Royal (2002):

A key aspiration of all indigenous people is cultural survival. This means the perpetuation of our knowledge, our traditions, our worldviews, our philosophies. What this requires, however, is not so much the simple use of traditional knowledge but research into its principles, its fundamental view on reality and the creative application of those views in the contemporary context. Otherwise indigenous knowledge will remain merely historical phenomena, a museum curio bearing little relevance to the contemporary experience of indigenous peoples. (p. 11-12)

Importantly, I will examine the proposition that the more we discover, examine and utilise Māori knowledge, the more we will grow to understand new ways to create, design and fashion contemporary applications of this knowledge. Therefore, what is required and what should be of impetus to present day Māori scholars is a new spirit of enquiry, into the evolution of Indigenous knowledge systems and more specifically in this context, their role in relation to filmmaking processes. Such a belief is supported by the words of noted Ngāti Porou tohunga (expert in traditional lore) New Amsterdam Reedy (2011) who in relation to the application of Māori knowledge systems stated emphatically, ‘It’s not about how far back we can go, it’s about how far we can take it into the future.’ 

Such an approach is where I will argue the true revolutionary and emancipating thinking lies. Therefore, and of equally important significance, this thesis through the discussion of Māori knowledge and its contemporary application also engages debates surrounding the further development of Kaupapa Māori theory and more specifically, locates this within a filmmaking framework. In this way, Kaupapa Māori theory, as much as it is employed in this study is also subject to a self-reflective analysis and critique, therein providing an original contribution to the current literature in Kaupapa Māori theory and filmmaking and consequently developing a more comprehensive understanding of both fields of study.
For I will contend that Fourth Cinema is an effective way to understand the other, engage in new and integrated ways of thinking and living, and recognise how different bodies of knowledge, traditional or modern, Indigenous and Western may coexist for common purpose and mutual benefit. For this is the integrated and inclusive space where the complexity of the relationship between the colonial and post-colonial truly exists, one which brings together essential and non-essentialist post-colonial theoretical paradigms as well as Indigenous knowledge and contemporary Western knowledge systems thereby bridging worlds that, at first, seem to be strangers to one another, but may be more connected than they are different.

year: 2017

title: Toward a sustainable wellbeing metacurriculum for secondary schools in Aotearoa New Zealand

authors: Morey, Chris

subjects: education for sustainability

abstract: We live in a time of burgeoning global population, social extremes and cultural complexity for which, as a species, we are poorly prepared. The mining of fossil fuels and the extractive industries which have powered this reproductive and material success have accompanied our ever-increasing separation from nature, one another, and ourselves. This study is based on the premise that educational transformation, centred on Sustainable Wellbeing, particularly in senior secondary schooling, is crucial to the regeneration humanity needs in the Anthropocene to surmount the complex environmental, social, and cultural crisis that our collective ignorance has brought. It explores what a Sustainable Wellbeing Metacurriculum (SWM) framework for this age group—inspired by a Complex Systems Theory, Critical Realist, and New Materialist synthesis—might look like and what practices, strategies, and changes within schools, communities, and Aotearoa New Zealand as a nation would encourage the metacurriculum’s widespread adoption.
The study examined theoretical positions regarding sustainability, wellbeing and curriculum, and drew on the principles of fractal self-similarity and scale-free social networks from Complexity Theory to construct an initial minimal framework. This framework was then elaborated, modified and tested, in an iterative co-construction process. The research design was a modified Delphi Survey. Twenty-three experienced secondary school teachers with a wide range of subject specialities contributed to the study, participating in one to three survey rounds, and/or semi-structured interviews. These data were supplemented with document analysis and school demographic and academic attainment data.
Participants were asked for suggestions of Knowledge, Issues, and Big Ideas most important to include within each of the three framework domains; Ecosphere, Social Justice, and Cultural Vision, at the Human-Societal level of an SWM. Within the corresponding domains of Action, Feeling, and Thinking at the Individual-Interpersonal level, the teachers were asked for suggestions of skills, competencies, and dispositions important for students' wellbeing. At the Human-Societal level, nine subdomains, each with sets of Sustainable Wellbeing goals following a complex fractal pattern, self-similar to the domains, emerged from the analysis of suggestions. At the Individual-Interpersonal level, similar fractal patterns for Action, Feeling, and Thinking were observed. However, teachers also emphasised deep qualities, such as Self-Awareness, and Adaptability, which are unique idiosyncratic integrations of Action, Feeling, and Thinking in individuals. The participants were asked to consider the ideal balance between Cross-curricular Holistic (CCH) and Subject-Based Specialist (SBS) modes of pedagogy for an SWM timetable. The mean suggested timetable share for the CCH mode was 39% but the distribution of preferred proportions was distinctly bimodal.
Participants were also asked to provide teaching Unit outlines based on the emerging SWM framework that linked the Unit’s anchoring and connected Human-Societal level subdomains to specific learning areas of the New Zealand Curriculum (NZC) and New Zealand’s National Certificate of Educational Achievement (NCEA). Epistemic links were apparent between the framework’s Ecosphere subdomains and the NZC learning areas of Technology, Social Science, Science and Health & Physical Education. Further research with a larger sample of Units would be required to explore the possible links between the framework domains of Social Justice and Cultural Vision and the NZC learning areas of the Arts, Languages, English and Mathematics.
The thesis adopts an analogy, based on the complexity theory concept of strange attractors, to describe educational transformation as a system phase shift from the attractor’s current ‘Business as Unsustainable’ state to an emergent Sustainable Wellbeing Metacurriculum state. Based on the findings, the schools of the participating teachers in this study were categorised as following one of four types of trajectory within the attractor, relative to the SWM state i.e. Explorative, Innovative, Prospective, or Realpolitikal. Key strategies used by Explorative and Innovative schools which are making the most progress towards Sustainable Wellbeing include: working with the willing; disaggregation into streams for large schools; aggregation for small schools sharing resources, like gardens; school and teacher leadership for student agency, including making Sustainable Wellbeing a core subject; Trades Academy partnerships; enabling ‘student voice’ particularly in curriculum development; structural support for CCH team teaching; involving a wide range of subjects and year levels in CCH programmes; using mentoring, portfolios and self-reflection to foster student self-integration; and commitment to on-campus sustainability practices.
The most mentioned changes needed to enable a transition for schools to enact an SWM were a convincing argument and plan, followed by, sufficient time to plan and make the changes required, and the provision of relevant teacher training. At the local community level, teachers in ‘Prospective’ schools described community anxieties around the implications of a broader CCH curriculum for students' Qualification and Employment prospects. Teachers in ‘Explorative’ schools emphasised the importance of community education and school outreach. There was a strong consensus that engaging all citizens in a conversation about the purpose of education in our time would be the most effective change strategy to support at the national political level.

text: Toward a sustainable wellbeing metacurriculum for secondary schools in Aotearoa New Zealand We live in a time of burgeoning global population, social extremes and cultural complexity for which, as a species, we are poorly prepared. The mining of fossil fuels and the extractive industries which have powered this reproductive and material success have accompanied our ever-increasing separation from nature, one another, and ourselves. This study is based on the premise that educational transformation, centred on Sustainable Wellbeing, particularly in senior secondary schooling, is crucial to the regeneration humanity needs in the Anthropocene to surmount the complex environmental, social, and cultural crisis that our collective ignorance has brought. It explores what a Sustainable Wellbeing Metacurriculum (SWM) framework for this age group—inspired by a Complex Systems Theory, Critical Realist, and New Materialist synthesis—might look like and what practices, strategies, and changes within schools, communities, and Aotearoa New Zealand as a nation would encourage the metacurriculum’s widespread adoption.
The study examined theoretical positions regarding sustainability, wellbeing and curriculum, and drew on the principles of fractal self-similarity and scale-free social networks from Complexity Theory to construct an initial minimal framework. This framework was then elaborated, modified and tested, in an iterative co-construction process. The research design was a modified Delphi Survey. Twenty-three experienced secondary school teachers with a wide range of subject specialities contributed to the study, participating in one to three survey rounds, and/or semi-structured interviews. These data were supplemented with document analysis and school demographic and academic attainment data.
Participants were asked for suggestions of Knowledge, Issues, and Big Ideas most important to include within each of the three framework domains; Ecosphere, Social Justice, and Cultural Vision, at the Human-Societal level of an SWM. Within the corresponding domains of Action, Feeling, and Thinking at the Individual-Interpersonal level, the teachers were asked for suggestions of skills, competencies, and dispositions important for students' wellbeing. At the Human-Societal level, nine subdomains, each with sets of Sustainable Wellbeing goals following a complex fractal pattern, self-similar to the domains, emerged from the analysis of suggestions. At the Individual-Interpersonal level, similar fractal patterns for Action, Feeling, and Thinking were observed. However, teachers also emphasised deep qualities, such as Self-Awareness, and Adaptability, which are unique idiosyncratic integrations of Action, Feeling, and Thinking in individuals. The participants were asked to consider the ideal balance between Cross-curricular Holistic (CCH) and Subject-Based Specialist (SBS) modes of pedagogy for an SWM timetable. The mean suggested timetable share for the CCH mode was 39% but the distribution of preferred proportions was distinctly bimodal.
Participants were also asked to provide teaching Unit outlines based on the emerging SWM framework that linked the Unit’s anchoring and connected Human-Societal level subdomains to specific learning areas of the New Zealand Curriculum (NZC) and New Zealand’s National Certificate of Educational Achievement (NCEA). Epistemic links were apparent between the framework’s Ecosphere subdomains and the NZC learning areas of Technology, Social Science, Science and Health & Physical Education. Further research with a larger sample of Units would be required to explore the possible links between the framework domains of Social Justice and Cultural Vision and the NZC learning areas of the Arts, Languages, English and Mathematics.
The thesis adopts an analogy, based on the complexity theory concept of strange attractors, to describe educational transformation as a system phase shift from the attractor’s current ‘Business as Unsustainable’ state to an emergent Sustainable Wellbeing Metacurriculum state. Based on the findings, the schools of the participating teachers in this study were categorised as following one of four types of trajectory within the attractor, relative to the SWM state i.e. Explorative, Innovative, Prospective, or Realpolitikal. Key strategies used by Explorative and Innovative schools which are making the most progress towards Sustainable Wellbeing include: working with the willing; disaggregation into streams for large schools; aggregation for small schools sharing resources, like gardens; school and teacher leadership for student agency, including making Sustainable Wellbeing a core subject; Trades Academy partnerships; enabling ‘student voice’ particularly in curriculum development; structural support for CCH team teaching; involving a wide range of subjects and year levels in CCH programmes; using mentoring, portfolios and self-reflection to foster student self-integration; and commitment to on-campus sustainability practices.
The most mentioned changes needed to enable a transition for schools to enact an SWM were a convincing argument and plan, followed by, sufficient time to plan and make the changes required, and the provision of relevant teacher training. At the local community level, teachers in ‘Prospective’ schools described community anxieties around the implications of a broader CCH curriculum for students' Qualification and Employment prospects. Teachers in ‘Explorative’ schools emphasised the importance of community education and school outreach. There was a strong consensus that engaging all citizens in a conversation about the purpose of education in our time would be the most effective change strategy to support at the national political level.

year: 2025-06-11