What does the ideal expert leader in learning and teaching for the Creative Arts look like?

By Barbara de la Harpe and Thembi Mason — Working in the area of learning and teaching in Higher Education for a combined total of 35 years we have consistently questioned ourselves, while at the same time being questioned, about what the expert leader in learning and teaching for the Creative Arts looks like.

Over time we have found that leadership of learning and teaching in the Creative Arts is a site of contestation, primarily because of the Studio model of learning and teaching which is at the heart of Creative Arts disciplines and is often seen from within as being not well understood by those outside the discipline. The model is characterised by distinctive and fiercely defended traditional practices from within the Creative Arts. Battles about studio pedagogy and how the studio model “fits” into the modern entrepreneurial global university continue to this day (Budge, 2012; Zehner et al., 2009).

So then, what does the ideal expert leader in learning and teaching for Creative Arts look like in changing times?

Through interviews with 25 Associate Deans across 20 Universities in Australia who are responsible for leading learning and teaching in the Creative Arts and a synthesis of the leadership literature, the hallmarks for an ideal expert leader of the Creative Arts were revealed in the recent PhD Study by Thembi Mason.

Through interviews with 25 Associate Deans across 20 Universities . . . and a synthesis of the leadership literature, the hallmarks for an ideal expert leader of the Creative Arts were revealed in the recent PhD Study by Thembi Mason.

A clear prototype of what hallmarks would ideally equip learning and teaching leaders emerged. The prototype, to which all existing and future leaders in learning and teaching for the Creative Art can aspire, looks like this.

An expert leader in learning and teaching for the Creative Arts would have a PhD, and a formal qualification in Creative Arts as well as in Education or Higher Education Learning and Teaching; so that they are accepted from within as fully understanding the studio model and from without as both fully understanding learning and teaching pedagogy, and how to conduct research.

They would be a full Professor, either prior or once appointed. They would have received an L&T award, citation or fellowship, and have significant publications in both L&T and their discipline.

They would have been recruited into a full-time role through a competitive and rigorous process meeting essential L&T selection criteria, including several years’ experience in other learning and teaching roles. They would have a formal induction to the role. In the role they would have line management of either learning and teaching or discipline academic staff, and be responsible for managing a discretionary learning and teaching budget.

They would be self-aware, motivated, empathetic and self-regulating, with the social skills to lead and persuade others to follow a vision

They would cultivate positive working relationships with others, including the Dean and Head(s) of Creative Arts, as well as with those in a Central Learning and Teaching Units. They would be well networked and belong to a group of Associate Deans within the institution. They would have significant knowledge of how the university works both formally and informally.  

They would be self-aware, motivated, empathetic and self-regulating, with the social skills to lead and persuade others to follow a vision. They would blend an excellent grasp of policy, teaching and learning experience, with prior and contemporary knowledge of learning and teaching, and would be able to apply high-level reasoning and decision-making to any problem or issue. They would recognise that disciplines need different pedagogical approaches.

Significantly, they would focus on leadership as well as management, acting to bring about strategic outcomes through a dispersed model of leadership. They would be deeply interested in supporting and bringing about change at the School level, and would lead learning and teaching projects. They would work closely with discipline leaders, to integrate quality enhancement opportunities with quality assurance processes, and focussing on technology and innovative pedagogies.

They would also extend their focus externally, taking on leadership roles or actively participating in external networks, such as participating in national learning and teaching projects, developing partnerships with industry and engaging in international projects.

Most importantly, an expert leader of learning and teaching in and for the Creative Arts would enjoy a great deal of job satisfaction, since they would be equipped with the hallmarks that fully enable them in their important leadership role now and into/for the future.


References

Budge, K. (2012). A question of values: why we need art and design in higher education. Art, Design & Communication in Higher Education, 11 (1), 5-16.

Zehner, R., Forsyth, G., Musgrave, E., Neale, D., de la Harpe, B., Peterson, F., Frankham, N. with Wilson, N. & Watson, K. (2009). Studio teaching project: four reports. Sydney: Australia Learning and Teaching Council.  http://www.studioteaching.org


Barbara de la Harpe is the Executive Dean of the Faculty of Business, Education Law and Arts at the University of Southern Queensland. Barbara has over 20 years’ experience in the higher education sector, including in Academic Development and Senior Learning and Teaching and Executive leadership roles. She has an outstanding and sustained record of successfully leading and championing learning and teaching and has significant standing for her research in the field of Higher Education that has been recognized by numerous awards, including an ALTC citation ‘For specialist expertise and leadership in professional development support for academic staff’.

Thembi Mason is a Senior Advisor, Learning and Teaching at RMIT. Thembi’s background and experience is in learning and teaching with a specialisation in educational technologies and blended learning. Thembi has worked across all educational sectors, including secondary schools, adult education, VET and Higher Education. Thembi has worked as a project manager on an ALTC funded project, createED, which aimed to strengthen learning and teaching leadership in the Creative Arts and on the OLT project investigating professional development approaches for staff teaching in New Generation Learning Spaces. Thembi has submitted her PhD in the area of learning and teaching leadership.

More from this issue

More from this issue

By Jenny Wilson — If we are to secure a better national understanding of the importance of creative arts, it is a task that needs to be embraced by every creative arts academic.
By Annika Harding — Heads of art and design schools in Australia on leadership challenges and opportunities
By Professor Anna Reid — Like most musicians, the creation of music has simply entranced me from an early age. I loved discovering out how instruments worked, how they could be played for my own pleasure and with others, how manuscript (or the lack of it) enabled me to understand composers’ ideas, and how music could make an impact on everyone around.
By Professor Ian Howard — Professor Ian Howard has spent over 20 years in leadership positions in Australian university art colleges, and is regarded by many as one of our most successful creative arts leaders. Now having returned to the ‘grass roots’, NiTRO invited Ian to share some of his thoughts and experiences on leadership in creative arts.
By Megan Burslem and Professor Cat Hope — “I really believe that art is important; I believe in its power to bring people together, how it helps us challenge and reflect on our views and improves our quality of life. Arts should be at the core of our national identity, as it helps us make sense of it.” – Professor Cat Hope

At the end of 2016, Kate Cherry moved from a successful nine-year role as Artistic Director and joint CEO of Black Swan Theatre to take up the role of Director and CEO of the National Institute of Dramatic Art (NIDA).  In a Q & A conversation with NiTRO Editor Jenny Wilson, Kate shares her perspectives on the move from professional arts to tertiary arts leadership

By Professor Steve Chapman — The world is in an interesting place just now. The nature of “truth” itself seems to be under threat. Now, more than ever, is the time for Universities to show leadership and to exercise their civilising influence. The Arts need to be at the centre of this.