interrogating cultural assumptions using a reflective portfolio process

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Interrogating cultural assumptions using a reflectiveportfolio processAnne Rath aa Lecturer in the Education Department , University College CorkPublished online: 18 Jul 2008.

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Irish Educational Studies, Vol. 21, No. 2, Autumn, 2002 33

INTERROGATING CULTURAL ASSUMPTIONS USING AREFLECTIVE PORTFOLIO PROCESS

Anne Rath

Introduction

In this paper, I explore the meaning of reflection for student-teachersas it relates to the introduction of a new portfolio assessment structurein the Higher Diploma of Education (HDE) course at UniversityCollege Cork (UCC). I suggest that initial teacher educationprogrammes must incorporate learning structures that facilitatestudent-teachers' critical reflection and reading of their classroomexperience as texts for interrogation and that this interrogation mustbe given parity of esteem with academic texts. In this regard, I arguethat this assessment method offers new possibilities for teachereducators as they attempt to construct meaningful learninginterventions for student-teachers. In particular, it offers teachereducators a powerful map of the learning processes and thinking ofstudent teachers as they negotiate teaching practice in diverse schoolcontexts. This map is largely missing from the present structure.Analysis of student-teachers' portfolios suggests that the portfoliooffers them a valuable medium of expression that is congruent withcurrent directions in professional development that has highlighted thesocial and active nature of all learning. This research literaturesuggests that the context in which a teacher learns and the kinds ofinteractions made available to the learner, become an integral andfundamental part of what is learned (Putnam and Borko, 2000).

A close scrutiny of the teaching and learning structures for theHDE at UCC clearly demonstrates pedagogic structures that are basedon the dominant structures within the institution at large. These,structures reflect a technical view of knowledge and practice that isbiased towards a linear theory to practice model of education. Theoryfound in the foundational disciplines, largely dominate this universityspace. The 55-minute lecture format with approximately 220 studentteachers in a large lecture theatre is the primary pedagogic structurewith the end of year examination the dominant assessment tool.Support for teaching practice and professional concerns receivesignificantly less contact hours than that spent on theory with a one-

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34 Irish Educational Studies, Vol. 21, No. 2, Autumn, 2002

hour weekly tutorial space the primary opportunity for student tostudent and student to tutor dialogue.

This tutorial space provides insufficient support if teachereducators are to examine critically and challenge: (1) students' apriori views of teaching and learning, (2) their interpretation offoundational disciplines, and (3) students' learning needs as theynegotiate diverse and challenging school cultures. A key premise ofthis paper is that the educational and cognitive experiences that aremade available to the learner in terms of pedagogic, curriculum, andassessment structures reflect the tacit theories, values, andexpectations of a learning community, in this case the community ofteacher educators. I suggest there is a tension between the currenthegemonic pedagogic structures at UCC and what current researchindicates about meaningful learning. The present structure reflects acultural disposition that privileges academic knowledge overprofessional, experiential knowledge.

In this paper, I set the context for portfolio development workwithin teacher education developments in the Republic of Ireland(ROI), and current teacher education directions in the Western world.I describe work with students and present two portfolio examples as away to highlight the potential of this work and its capacity to engagestudent-teachers critically in taking an inquiry stance, and in takingactive responsibility for their own professional learning.

Meaning in context: Framing teaching and learning

Like most teacher education programmes in the Western world,government policy has focused on teacher education in the ROI. TheOECD (1991) report on the Irish Education system acted as animpetus for this attention. It noted that the Irish Department ofEducation functioned like a "classic, highly centralised bureaucracy"(p.36) and critiqued the dominant framing of teachers as "purveyorsof facts and coaches for examinations" (p. 63). The Green and WhitePapers on Education (Government of Ireland, 1992, 1995) set thestage for important policy development at all levels of the educationsystem and sponsored much public debate and concern. In relation toteacher education, the White Paper has highlighted the fact that therehas never been an evaluation of the effectiveness of the HDE atnational level (p. 124). However, it is noteworthy that this documentdoes not refer to the concept of the teacher as reflective practitioner,rather it views the teacher primarily as imparter of knowledge (p.

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119). This is in contrast to what was happening in Britain and theUSA where reform efforts argued cogently for a professional framingof teachers. In a professional framing the teacher's planning,evaluation, judgements, experiences and practice-based researchbecome integral to the curriculum and professional knowledge base ofteaching (Darling-Hammond, 1990, Goodson and Hargreaves, 1996).

In early 1999 the government set up national reviews of primaryand post-primary teacher education. Kellaghan (2000), chair of thePrimary Level Review body, commented on the lack of change inIrish teacher education despite unprecedented societal change and thelack of "debate about the adequacy of teacher education to meet newchallenges, or little pressure to change it in any radical way" (p. 43).

There is a growing consensus in the teacher educationcommunity that present structures need to incorporate more learnercentred structures. Coolahan, (2001) noted the "limitations of timeand space" and "large incoming groups of students" as factorsinhibiting change (p. 349), arguing strongly for more experientialwork (p. 352). However, he cautions that there is a need to keep thosestructures in place that have served teachers well. Leonard andGleeson (1999) suggest a deep ambivalence about the practicalmeaning of curricular reforms generally, and the marginalisation ofprofessional studies and reflective processes in teacher education inparticular. Burke (2000) observes the chronic curricularovercrowding and under-resourcing of professional studies areasarguing strongly for a rethinking of the structures that supportteachers as reflective professionals. However, such learning structuresrequire a significant investment of resources for experiential workwith students. In order to secure such resources teacher educatorsneed to focus their research on the gaps in current practice andarticulate a rationale for new practices. Clearly, teacher education hasnot been the focus of either research or personnel investment in theROI and has been chronically neglected within the university sector.

Teacher education reform

For the last fifteen years, there has been a lively debate about thenature of teacher knowledge and practice in the Western world.Emphasis has largely shifted from what teachers do to what theyknow and how this impacts on classroom practice. Reform effortshave focused on creating more learner-centred approaches to

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education, acknowledging the learner's prior experiences andknowledge, the social and interactive nature of learning, and thedevelopment of professional communities of practice that validateinquiry and reflective processes. Professional development is muchmore likely to be seen as incremental, collaborative, developing, andover time (Lieberman, 1990; Goodson and Hargreaves, 1996). Inreform efforts reflective practice has been called on to bridge thetheory- practice divide that has characterized traditional teachereducation. However, reflection as a concept and as a practice has notbeen well defined.

Defining reflection

Research on reflective practice has been largely influenced by theseminal work of John Dewey, (1933) and Donald Schon (1983).According to Dewey (1933) the attributes of open-mindedness,responsibility, and whole-heartedness are integral to reflection. Heargued that doubt is a necessary pre-requisite for reflection, Hedifferentiated between routine and intelligent action, the former isbound by tradition and authority, the latter informed by the deliberateand intentional engagement of mind/thought on the possibleconsequences of different actions. Reflective thinking "enables us toact in deliberate and intentional fashion to attain future objects (p. 17).Schon (1983) extended Dewey's model of reflective thinking andpopularised the image of the "reflective practitioner" throughobserving how practitioners think in action. He saw action asembodied thought. He distinguished between reflection-in-action andreflection-on action, two core processes that form the coreprofessional artistry of the reflective practitioner. Reflection-in-actionis the routine thinking that practitioners do as they act in the world ofpractice. It acknowledges that practitioners usually know more thanthey can say. Reflection-on-action is the intentional and deliberateturning of "thought back on action" (p. 50). Schon highlighted theprocess of problem-setting as an integral aspect of problem-solving,an aspect that is often short-changed in the rush to solve problems.

It is clear that both Dewey and Schon focus on the deliberate andconsidered application of mind to a puzzling situation or dilemma.Both agree that professional means and ends are rarely clear sincecontexts are characterised by ambiguity, messiness, and uncertainty,thus challenging technical approaches. Both advocate the need foremancipation from unconscious action, and highlight the importanceof agency and intentionality in action.

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Schon's model has been criticized for being overly linear,rational and focussed on the individual. Day (1993) critiques itsinattention to the discursive element of teacher learning. Reflectioncan be used to serve narrow instrumental goals within a technicalframe with a focus on situational performance (Reynolds, 1999).Recent research suggests that reflective thinking acts more like aweaving; a threading together of connections and experience intomeaning and that such meaning-making is nurtured by reflectiveconversations (Clarke, 1995; Lyons, 1999). Critical theorists have alsocriticized Schon's work with its focus on an individual's practice andits lack of attention to the social and institutional context of thatpractice. Critical theorists focus on the transformative power ofreflection where practitioners are encouraged to link their work inschools with larger democratic and moral questions:

We propose that a legitimate and essential purpose ofprofessional development is the development of aninquiry stance on teaching that is critical andtransformative, a stance linked not only to high standardsfor the learning of all students but also to social changeand social justice and to the individual and collectiveprofessional growth of teachers. (Cochrane-Smith andLytle, 2001, p.46).

I view the purpose of reflection as a process of criticalengagement with practice. It is a process that attempts to engagestudent-teachers actively and intentionally in a process of criticalinquiry and interrogation of the nature of their own meaning-makingand guiding knowledge systems. A central assumption underpinningmy work with students is that consciousness of, and critical reflectionon, one's own meaning-making system is a necessary pre-requisite toprofessional engagement. Agency, open-minded inquiry, and ethicalresponsibility are all viewed as necessary attributes of a professionalcharged with meeting the learning needs of students in diverse schoolsettings. The transmitted knowledge, experiences, assumptions andvalues of the teacher become a source of knowledge but also must besubject to inquiry. In a teacher education programme, the objective isto bring to consciousness the process by which teaching perspectivesare formed, to influence that formation, and to develop in teachers theability to interrogate these perspectives from multiple vantage points,such as intentionally and deliberately viewing a practice problem

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through the lens of a student, parent, social, ethnic, or gender group,school context, curriculum goal, or educational theorist. Each lensprovides additional information and requires an inquiry focus thusextending both the complexity of the problem and deepeningunderstanding.

The conceptual tools of knowledge-generation -formulation ofquestions, data collection, and problem framing - are explicitlyviewed as important and integral components of the portfolio process.Students require the scaffolding and support of research modules thatintroduce them to these inquiry tools. I see teaching and research asintegrally linked. The cultural tools of talking, writing, and presentingone's work to a community of learners are given a central place inengaging, activating and sustaining the mind of the learner as agentand thinker. Coming to know is viewed as an incremental process ofengagement with ideas, feelings, hunches, -and thinking about teachingpractice that is mediated by ongoing reflection and critical feedback. Ibelieve that it is in this way student-teachers come to experience howknowledge is shaped and extended by these dialectical processes thusacquiring a perspective on the validity of different knowledge sourcesand the perspectives they represent. This is a qualitatively differenteducational experience than traditional structures allow.

The reflective portfolio

Portfolios have a long history in writing, art and architectureeducation. Recently they have assumed a significant role in teachereducation reform efforts in the United States for both pre-service andexperienced teachers (Lyons, 1999) and in Holland (Snoek, 1999). Inaddition, portfolios are central to many of the new assessmentstructures in new curricula for primary and second level students inthe ROI (Hyland, 1998). Shulman (1999, p. 24) views the creation ofa portfolio for student teachers as an act of theory generation insofaras what is declared worth documenting, worth reflecting on, is atheoretical act. Lyons (1999, p. 39) spells out the following as coreportfolio processes:

The gathering of evidence of one's growing competencyin teaching and understanding student learning; theparticipation in conversations with critical friends aboutportfolio entries that help surface knowledge and valuesof practice; and the presentation to colleagues andmentors of the completed portfolio with its entries and all

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important reflections on what one has learned. Whatemerges in this process is discussion and debate aboutwhat until now has remained nearly hidden from view,that is public dialogue about "What is good teaching?"

Since 1997, teacher educators at UCC have actively engagedwith developing students as reflective practitioners (Rath, 1998; Rath,2000). A reflective journal was introduced in 1997-99 and extendedto a reflective portfolio in 1999. As presented here, the portfoliorequires student-teachers to document and reflect systematically onthe learning experiences they construct for students in the teachingpractice site by collecting, analysing, and presenting their work to acommunity of peers (Student Handbook, UCC, 1999-present, pp. 13-17). Student teachers are required to show evidence of their growingunderstanding about themselves and their students as learners, and tocreate a portfolio that reflects this growing complexity anddevelopment.

The portfolio has four distinct components that are multi-focussed each designed to stimulate reflection and inquiry on differentaspects of teaching. The first requirement is for student teachers tocreate a statement that examines their beliefs, assumptions and valuesabout good teaching. In this way student teachers begin to articulate avision for themselves as teachers and begin to construct a professionalidentity. They are encouraged to question taken-for-granted viewsabout themselves and about teaching in general. Secondly, they mustpresent a school study statement that documents their efforts tounderstand their teaching practice site. This section is to promotestudents inquiry of the contextual surround of teaching and how thatimpacts on their practice acknowledging the different culturalemphases in each context. Thirdly, students must create five portfolioentries. They are asked to select five critical teaching/learningexperiences that they deem significant to their overall professionaldevelopment over the course of the year. These entries must showdevelopment in thinking and practice over time. Finally, students mustpresent a conclusion where they reflect on what they have learnedabout teaching and learning from their engagement in reflection and inconstructing a portfolio.

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Working with students: A work in progress model of learning

As stated above the one-hour tutorial provides insufficient scaffoldingfor portfolio development. In October 2000, a voluntary 2- hourmonthly seminar was offered to all incoming HDE student-teachersfor portfolio development. Approximately 24 students signed up forthis which then stabilised to 15 regular participants. This seminar wasused as both a research site and as a support for students' engagement.Students were encouraged to keep reflective journals on the questionsand issues that were engaging to them, to collect ongoing evidence ordocumentation of their professional engagement with these questions,to come to the seminar with a willingness to present their work topeers in service of an inquiry stance, and to give feedback to peers ina constructive way and to withhold judgement and advice. All entrieswere viewed as "works-in-progress" or emergent, where studentswere encouraged to inquire further or write more elaborated responsesto questions posed by the tutors or peers. -Within context and whenappropriate connections were made to the work of theorists in thefoundational disciplines.

The following vignettes demonstrate an emerging criticalengagement with practice concerns. The data presented here are takenfrom presented portfolios for the year 2000-1 and from interviews andwritten reflections at the end of one year teaching.

"The struggle for expression"I remember very vividly the first day I entered the class.One boy was in the process of pulling the blackboard offthe wall and despite the fact that he saw me entering theroom, he proceeded with the operation (p. 25)

Deirdre in her portfolio entry describes the shock of her firstmeeting with John above. From the beginning John tells her that hedoes not do classroom activities because he is not "able to read orwrite". After consultation with other teachers she is advised to allowhim to draw, an activity he enjoys, and that keeps him from being toodisruptive. A simple question posed in her tutorial group prompts herto inquire further by interviewing John. In the interview, she finds outthat John is from the Travelling community and that he explains hisinability to read on the fact that he was sent on jobs in primary schoolduring reading time. She begins a process of engaging with thisproblem in a number of ways (1) Interviewing the student; (2)Designing different types of learning activities and assessments; (3)

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Inquiring into how she was making links between, the subject matter -history- and the student's interests and life experience; (4)Interviewing learning support personnel to understand the school'ssupport system; (5) Reading texts on Travellers and ReadingRecovery. Echoing Dewey and Schon above, the problem or puzzlebecomes a stimulus for reflection and leads to very meaningful,deliberate and intentional learning on her part. Each action generatesnew data that then stimulates further reflection and informed action.

With Deirdre's advocacy a reading test is administered to Johnand she realises that John has a reading age of eight years. From herreading of Multiple Intelligences theory she experiments withdesigning assessments that allows John to show what he knowsincluding transcribing his answers for him in a test. She finds that "heknew a lot" but was "unable to express himself. Art was his onlymeans of expressing the information he knew" (p. 27). She also findshim bright and eager with a "keen memory for details" and a keenstory-telling ability that she identifies as key skills in a historyclassroom.

What is important about this for Deirdre is that she begins tounpack the meaning of "not being able to read and write" and beginsto see this as an incremental, developmental process.linking learningwith relationship-building, encouragement and social class. In her firstframing of the problem she accepts his assessment and other teachers'assessment of his ability as a given. She equates his inability to readand write as code for lack of ability. She links knowledge aboutTravellers to illiteracy and questions the system as a whole — " Ilearned that encouragement plays a very significant role in learning. Ithas taught me that children are not treated equally. I believe if this boywas attending a middle class school there is no way he would havebeen sent doing jobs when he so obviously needed help" (p.28). Herengagement with the student tells a story of professional responsibilityand commitment where she learns that concepts such as ability andlearning are linked to emotional as well as cognitive conditions andwhere she saw a student "transformed" in a short period of time.

Teaching becomes a "relationship between their way of seeingthe world and mine". Learning is "a very complex process linked tomany variables. Every topic covered is linked and it is important toencourage students to make these links as this broadens theircognitive abilities". It also tells a story of a school with few real

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resources, raising moral and ethical issues. The reflective process is anempowering one since "through reflection the teacher can exploreoptions, can come up with solutions to problems as they arise thatdoes justice to both herself and more importantly for the students forwhom she is responsible".

"Permission to make bold statements"David connects the questioning of his own experience of

streaming to asking larger questions about the purposes and effects ofstreaming within the system as a whole. Most importantly, he viewsthe work of teaching as a moral endeavour - "There are moralgrounds against streaming any student. In the face of the theory ofmultiple intelligences, I fail to see how such a system of educationretains credibility. This is important. It raises questions about studentswith great abilities who have been passed off as failures" (p. 35). Thismoral theme is woven into each entry and greatly colours hisperspective on students and teaching.

The portfolio making experience is an emancipating one forDavid, a space where he could develop a perspective on himself. Itwas like "meeting myself where I am both the subject and theresearcher...the impact on me has been far greater than any otheracademic experience. I now feel this should be an integral part of alllearning " (p. 76). His deliberations allow him to revisit his lifeexperiences and to weave connections between diverse contextsbecoming a teacher who is "mindful that he has much to learn". Heobserves his own development noting that "time is a critical elementin the process of inquiry" and that reflection has permitted him "tomake bold statements" (p. 88). This suggests that David understandsthat becoming a thoughtful teacher is incremental and built overcommitments of time and active engagement in inquiry. He cites thelearning from peers as significant. The portfolio gives him a space toarticulate the kind of commitment he has to becoming a good teacher,and the meaning of this commitment to him as a professional:

Through the process of reflection and writing I feel thatthis portfolio serves to remind me of the commitmentsthat I have to teaching. This is because the habit ofreflection has taken root thus making me more apt attaking a critical and analytical view of the issues that faceme. I have learnt that every aspect of teaching demandsmy fullest attention...! feel that it has given me the ability

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to articulate in a fashion that will be expected of me as aprofessional, (p. 92)

In interviewing David a year later it is interesting to note that heis still concerned with moral issues and with making bold statements.He makes a connection between what he has learned in his portfoliomaking and a critical stance he takes in a staff-room discussion onstreaming:

When you write about something like streaming and thenwhen you read out your statement in public it's like youare making public your commitment to a stance. And thenall the reading I did on it, it's like you become wellequipped to talk about it in a professional setting.(Interview, August 2002)

In his school, as a practicing teacher he finds his voice to refute theconventional wisdom that streaming is the only way to do the businessof schooling and that it serves the majority of students. His owninquiry into this topic from both a theoretical and experiential framegives him an authority from which he can speak as an advocate forthose students who are deemed failures. He highlights how theportfolio group gave him a "framework" within which to operate andequipped him with the "language and insights to discuss educationalissues" and also a "forum in which to debate these issues". Mostimportantly, David acknowledges that the portfolio group gave him anopportunity to tie diverse disciplines of education together into ameaningful intellectual tool -"It was in this respect invaluable in termsof the overall course because the portfolio tied the diverse disciplinesassociated with the H.Dip together".

His practice now as a teacher is to seek out reflectiveconversations with his own students where he regularly asks them forfeedback on his teaching so that he can "adjust" his practice. He alsoseeks out more experienced colleagues for feedback since he is awarethat self-appraisal can be "blind" in places. Reflective writing andtalking with peers now makes him understand that "words matter".The processes that David engages with: reading, writing and talkingare central to a portfolio process and help him create a context formeaning making, a key educational activity. Reflection becomes asocial practice of engagement.

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Implications for the practice of teacher education

In an increasingly multicultural world the ability critically to examineone's own culture, values, beliefs and assumptions and how theseimpact on teaching and learning practices is an essential professionalcapacity. The present teaching environment demands much ofteachers in terms of personal commitment and engagement withcomplex moral issues. If the goal of teacher education is to educate acadre of professionals willing and able to "make bold statements"about teaching and learning, teacher educators must take seriously thegoal of teaching students-teachers how to interrogate systematicallytheir own practice and to question the "given" in terms of knowledge,values, beliefs, and assumptions. I suggest that both these examplesdemonstrate teachers uncovering cultural practices in schools thatrequire interrogation and having the ability and confidence to activelyengage with them in empowered ways. However, without a supportiveframework of early professional development in place for youngbeginning teachers one wonders if their questioning of acceptedconventions can continue. The data presented suggest that theportfolio process authors a new professional voice that is mindful oflearning as a process that, is committed to engagement, and that iswilling to express itself in service of improved practice.

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interrogating cultural assumptions using a reflective portfolio process

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