PaulStevens,Nov2013ID:1075158

UnitPlanArt&IdentityExplanation/DiscussiononCultural
Diversity
viii. Diversity of Cultures (particularly Mori)
This area of focus requires a similar approach as that described above for EAL learners. In
the book The Professional Practice of Teaching Barbara Whyte proposes the principle of
teaching with the students ethnicity, instead of adopting a kind of racial
colour-blindness (McGee & Fraser, 2012, pg. 218). By this she means, as I discussed
earlier in the explanation of my understanding of pedagogy, that we need to respect
students of diverse backgrounds in our classrooms (including Pacific Islands students, and
particularly Mori as tangata whenua) by simultaneously acknowledging and valuing
their diversity, while also acting inclusively and with the same respect and high
expectations that we show to all students. In a sense, being in a country which is part of
the South Pacific with a rich cultural history dating back to long before the colonists, the
cultural diversity of Pacific Islands and Mori kaupapa is relevant to all of us, and to all
students in Aotearoa New Zealand. In other words, while we need to acknowledge and
incorporate Pacific Islands and Mori values in our teaching particularly for those
students who come directly from these backgrounds, it is really for the better of all
students; particularly considering that when it comes to Te Kotahitanga methods, what
works for some students tends to benefit all students (tki.org.nz, 2013; Meyer et al.,
2010).
With this in mind there are a number of areas within this unit that I have given specific
focus to addressing the needs of these learners. For example, in Lessons 1-2, when
students create an Identity Mandala, they are required to incorporate into their designs a
cultural pattern. Kowhaiwhai and siapo designs, among others, are provided and all
students are encouraged to understand and use these cultural patterns in their practice.
Likewise when students begin the large practical assignment in Lesson 10 they are
required to create a composition reflecting themselves and are again encouraged to
incorporate their cultural identities.
A further area of inclusion in this unit is with artist models. As an art educator I find it
important as part of my practice to, as much as possible, represent diversity in the artist
models that I choose. The study of established practice is a significant part of art teaching,
and is required in the Curriculum, and should be included at every level. In Lesson 10,
1

PaulStevens,Nov2013ID:1075158
when students begin studying the artist models for their self portrait, I have included the
Samoan artist Lyle Penisula and the Mori artist Darcy Nicholas, as well as other New
Zealand artists. Both of these artists use techniques and styles reminiscent of their
heritage, encouraging students to do the same.
As well as this direct visual inspiration from diverse cultures it is also important to
integrate specific teaching practices known to benefit students from a Mori background,
especially bearing in mind the learning challenges often faced by these students (Ross,
2000). Te Kotahitanga is a national project which aims at raising Mori student
achievement (MOE, 2013; Meyer, et al., 2010). One proven way that has been identified is
through a kaupapa (collective vision, philosophy) which allows groups learning (2013).
Both Lesson 6 & 10 in this unit reflect this understanding as students work in groups to
discover and discuss knowledge and ideas for the benefit of the collective community of
the classroom.

2

PaulStevens,Nov2013ID:1075158
References
Applebee, A. N. (1996). Curriculum as Conversation. Chicago: The University of Chicago
Press.
Ashman, A. & Elkins, J. (2012). Education for Inclusion and Diversity (Fourth Edition). NSW:
Pearson.
Ayers, W. (1995). To Become A Teacher. New York: Teachers College Press.
Berger, J. (1973). Ways of Seeing. London: Penguin Books.
Blackledge, D. & Hunt, B. (1985). Sociological Interpretations of Education. London: Croom
Helm.
HarperCollins Publishers. (1997). Collins New English Dictionary. London: HarperCollins
Publishers.
Dewey, J. (1916). Democracy and Education. New York: Macmillan
Dewey, J. (1938). Experience and Education. New York: Touchstone.
Eisner, E. W. (2002). Arts and the Creation of Mind. New Haven: Yale University Press.
Fay, J. & Funk, D. (1995). Teaching with Love and Logic: Taking Control of the Classroom.
Golden, Colorado: The Love and Logic Institute, Inc.
Freire, P. (1970). Pedagogy of the Oppressed. London, UK: Penguin Books.
Gardner, H. (1983). Frames of Mind: The Theory of Multiple Intelligences. New York: Basic
Books.
Harris, B. & Zucker, S. (2013). Smarthistory. Retrieved November 13, 2013, from
http://smarthistory.khanacademy.org/.
Heer, R. (2012). The Knowledge Dimension / Cognitive Process Dimension Model. Ames,
Iowa: Iowa State university Center for Excellence in Teaching and Learning.
hooks, b. (1994). Teaching to Transgress: Education as the Practice of Freedom. New York:
Routledge.
Intrator, S. M. (2003). Tuned in and Fired Up: How Teaching Can Inspire Real Learning in
the Classroom. USA: Yale University Press.
Johnson, E. (1997). Cultural Norms Affect Oral Communication in the Classroom, in New
Directions for Teaching and Learning, Summer 1997.
Jones, A. (1991). At School Ive Got a Chance. Palmerston North: Dunmore.
Kelly, A. V. (2007). The Curriculum: Theory and Practice. London: Sage.
Leite, W. L., Svinicki, M., & Shi, Y. (2009) Attempted Validation of the Scores of the VARK:
Learning Styles Inventory With MultitraitMultimethod Confirmatory Factor Analysis
Models. New York: SAGE Publications.
Marsh, C. (2004). Becoming a Teacher (Third Edition). NSW: Pearson.
Meyer, L. H., Penetito, W., Hynds., Savage, C. Hindle, R. & Sleeter, C. (2010). Evaluation of Te
3

PaulStevens,Nov2013ID:1075158
Kotahitanga: 2004-2008. Wellington: EducationCounts.govt.nz.
Ministry of Education. (1999). Non-English-Speaking-Background Students: A Handbook for
Schools. Wellington: Learning Media Ltd.
Ministry of Education. (2000). Gifted and Talented Students: Meeting Their Needs in New
Zealand Schools. Wellington: Learning Media Ltd.
Ministry of Education. (2007). The New Zealand Curriculum. Wellington: Learning Media
Ltd.
Ministry of Education. (2008). Nurturing Gifted and Talented Children. Wellington:
Learning Media Ltd.
Ministry of Education. (2013). Te Kotahitanga. Retrieved November 13, 2013, from
http://tekotahitanga.tki.org.nz/.
Ministry of Education. (2013). International Students in New Zealand, Education Counts.
Retrieved November 13, 2013, from
http://www.educationcounts.govt.nz/statistics/international/internatio
nal-students-in-new-zealand
Robinson, K. (2009). The Element: How Finding Your Passion Changes Everything. New
York: Penguin Books.
Ross, A. (2000). Curriculum Construction and Critique. London: Falmer.
Wong, S. H. (1990). Locus of Control and Ethnic Membership: A Study of Secondary School
Students. Hamilton: University of Waikato.
Wood, P. (1992). Teaching Our Students: Adapting Teaching Styles to Cultural and Class
Differences. In Set: Research Information for Teachers. Number 2, 1992.
Zepke, N. (2003). Inclusive Teaching: Making a Space for Difference, in Zepke, N., Nugent,
D. & Leach, L. (eds.). (2003). Reflection to Transformation: A Self-Help Book for Teachers
(pgs. 99-103). Palmerston North: Dunmore Press.

4