Any answer to the question “What is professional development (PD) for inclusive education (IE)?” needs to be based on a deep understanding of the nature of IE. Taking fully into account its multileveled nature, encompassing inclusive practice, policy, advocacy, and philosophy, IE appears as a “glocal” phenomenon that is affected by institutions (e.g., accountability, new public management, and neoliberalism) with which it can resonate or collide, resulting in tensions within the educational field. These tensions complicate the endeavors of teachers to orient themselves and their actions because different institutions conceptualize teaching and the role of teachers differently, demanding different and sometimes conflicting things from them. Further, teachers also need to give meaning to perceived similarities, differences, and conflicts between these professionalisms and elements of their own professional identity. This results in specific concerns for teachers and imposes challenges for teachers’ agency. PD based on this understanding of IE refers to creating and exploiting spaces where the different actors involved address the complexities of, and coconstruct, a teaching profession that is inclusive. This conceptualization implies formal and informal, social and local, embedded, open-ended practices that can strengthen teacher agency. To do this, it needs to recognize the teacher as being at the center of PD. These spaces are experimental zones for the exertion of agency, incorporating transformative ideals which can involve developing a different behavior repertoire, changing the immediate professional context, or addressing contradictory institutions. As such, PD is not regarded as the prerequisite for IE, but as its consequence.
Dries Vansteenkiste, Estelle Swart, Piet Van Avermaet, and Elke Struyf
Teresa Cremin and Debra Myhill
In the field of writing in education two strong, even common-sense, views exist, drawing largely on everyday logic rather than evidenced justification: first, that to teach writing effectively teachers must be writers themselves and second, that professional writers, those who are writers themselves, have a valuable role to play in supporting young writers. But rarely have these views been brought together to explore what teachers can learn about being a writer from those who are writers. Nor are these perspectives unquestioned. The positioning of teachers as writers within and beyond the classroom has been the subject of intense academic and practitioner debate for decades. For years professional writers have visited schools to talk about their work and have run workshops and led residencies. However relatively few peer-reviewed studies exist into the value of their engagement in education, and those that do, in a manner similar to the studies examining teachers as writers, tend to rely upon self-reports without observational evidence to triangulate the perspectives offered. Furthermore, the evidence base with regard to the impact on student outcomes of teachers’ positioning themselves as writers in the classroom is scant. Nor is there a body of evidence documenting the impact of professional writers on student outcomes.Historically, these two foci - teachers as writers and professional writers in education - have been researched separately; in this article we draw them together. Predominantly professional writers in education work directly with students as visiting artists, and have been positioned and positioned themselves as offering enrichment opportunities to students. They have not therefore been able to make a sustained impact on the teaching of writing. Moreover, while writers’ published texts are read, studied, and analyzed in school (as examples for young people to emulate), their compositional processes receive little attention, and the craft knowledge on which writers draw is rarely foregrounded. In addition, writing is often viewed as the most marginalized creative art, in part due to its inclusion within English, which itself has been sidelined in the arts debate. Notwithstanding these challenges, research and development studies have begun to create new opportunities for collaboration, with teachers and professional writers sharing their expertise as pedagogues and as writers in order to support students’ development as creative writers. In such work the challenges, constraints, and consequences of students and teachers identifying themselves as writers in school has been evidenced. In addition, research has sought to document the practices of professional writers, analyzing for example their reading histories, composing practices, and craft knowledge in order to feedforward new insights into classroom practice. It is thus gradually becoming recognized that professional writers’ knowledge and understanding of the art and craft of writing deserves increased practitioner attention for their educative possibilities; they have the potential to support teachers’ understanding of being a writer and of how they teach writing. This in turn may impact upon students’ own identities as writers, their understanding of what it means to be a writer, and their attitudes to and outcomes in writing.
Asiye Toker Gökçe
Socialization is a process through which someone learns to become a member of society. Individuals learn how to perform their social roles, internalizing the norms and values of the community via socialization. Professional socialization is a type of adult socialization. It is a process through which newcomers internalize the norms, attitudes, and values of a profession. They receive instructions, and they learn the knowledge and skills necessary to satisfy professional expectations they are supposed to meet. Thus, they can adjust to the new circumstances and new roles of the profession. Individuals gain a professional identification and feel a commitment to a professional role during the process. In some way, the interpretation of newcomers, the agents of the profession, and the organization produce this. New teachers participate in the community of educators, and they learn how to be a member through the socialization process. They learn new skills, such as how to teach, and internalize new values, such as believing there will be cooperation among colleagues. They learn regulations and organizational contexts, while they develop a style of teaching. As a consequence, they construct a professional identity by internalizing values and norms of the profession and redefining it.This sometimes happens regardless of the school in their professional socialization process. Despite the many challenges inherent in the profession, new teachers are expected to be socialized while performing their duties. Thus, new teachers try to develop an identity and survive in the job through interaction and communication with other teachers. Some adjust easily, while others do not and leave the profession. Some use situational adjustments, while others prefer to strategically redefine the situation within the process. In addition to teachers, new school principals also need to be socialized in their roles in their first year. Becoming a school principal requires different procedures than teachers’ socialization. Nevertheless, models about the socialization of teachers and school principals explain professional socialization as happening through anticipatory, preservice, and in-service.
Melisa Cahnmann-Taylor and Lynn Sanders-Bustle
There are several interrelated themes in arts-informed pedagogies and teacher preparation: (1) the arts as tools to improve students’ academic achievement in other content areas such as math, science, social studies, language arts, and foreign language; (2) the arts as holistic and dynamic process for meaning-making; (3) the arts for teachers’ own professional identity and satisfaction (e.g., for teacher reflection, teacher retention, job satisfaction, and relationship-building); and (4) the arts for social change, social justice, and education advocacy work. There are a series of key questions and concerns regarding where, how, and why arts-informed teacher education practices are used, who uses them, and to what end.