Stage 3 : Writing as Re-Creation (2003)

One of the most useful of human abilities is the ability to learn from the experience of others… We listen to storytellers and learn about how things were, and we use what we have been told to make decisions about what will be (Eisner, 1991, p.202).

As suggested by Eisner (1991), stories that teachers tell about their teaching experiences are valuable sources of information about the experience of teaching.

They illuminate what happens in classrooms, and they reveal how these happenings impact on the teacher. The next stage of my research journey involved the development of the ten teaching stories, but also included the need to develop them within the other story that was happening – the research story. I needed to find the means of recreating my first year of teaching within the broader context of my research project. This necessitated finding the way to frame the stories within the theoretical and methodological context in which I was working.

The story writing stage can be further understood as falling into two steps. The first involved the decision to select a conceptual metaphor (days of the week) for the structure of my dissertation. The days of the week framework allowed me to narrow my focus, realising that I would only be able to tell a certain number of stories in the space of a dissertation format. Apart from how I saw this metaphor as appropriate for evoking the qualities of the beginning teaching experience, it also enabled me to select topics for my stories according to what day of the week I was writing. For example, I initially used broad and general themes. For example, I aimed to write stories for Sunday which focused on issues of pre-beginning teaching days and issues such as why I became a teacher in the first place. Sunday

stories were to be about getting ready to start teaching. For Monday, I aimed to write stories about the shock of beginning teaching, of the blur of first moments, and the confusion of actually being inside the experience. The stories that I was after for later in the week were ones that addressed more complex issues such as student relationships and professional identity. As teacher development theory suggested, such awareness comes later in the first year of teaching, hence I wanted to focus on such themes later in my beginning teaching storytelling. I intended for the week’s beginning teaching stories to roughly follow the shape of a beginning teacher’s first year of teaching – shock, growing awareness, identity realisation, to learning and transformation. This was how I saw the Sunday to

Saturday journey, and how I initially selected stories thematically. The large scope of this framing metaphor enabled me to select ten themes. I categorised the journal by colour coding phrases, incidents, feelings that resonated with the chosen theme and, as stated, did likewise with interview transcripts and literature.

My stories about beginning teaching needed to be critically constructed, informed by theory, and consciously shaped so as to illuminate the theme being explored. As Doecke, Brown & Loughran (2000) state ‘stories do not simply happen; they must be told’ (p.344). Hence, I understood that how I chose to construct the stories, such as where I chose to begin and end my tale, would reveal to the reader what I thought was important about my particular theme. Narrative created shape for my lived experience – a form to my remembering and reliving of my first year of teaching. The construction of teaching stories allowed me to transform ‘a mere succession of actions and events’ into a meaningful whole because ‘stories are concerned with human attempts to progress to a solution, classification, or unraveling of an incomplete situation’ (Polkinghorne, 1997, p.13).

I viewed the stories as the creation of a ‘professional knowledge landscape’. Connelly & Clandinin (1999) explain this concept further, ‘these stories, these narratives of experience, are both personal – reflecting a person’s life history – and social – reflecting the milieu, the contexts in which teachers live’ (p.2). I chose storytelling, then, as the way to capture the richness of beginning teaching and the complexity of a time where the personal and professional were so entwined.

Many autoethnographers use artistic means of expressing their research, and an appropriate connection between the two related methodologies developed in my work. Arts-based educational research ‘is defined by the presence of certain aesthetic qualities or design elements that infuse the inquiry with its writing’ (Barone & Eisner, 1997, p.73). I viewed my research as ‘arts influenced’ because the qualities of arts-based research informed my construction of my teaching stories as part of this research. I utlised what Sullivan (2000) terms ‘aesthetic vision’ in many stages throughout this research, including analysis and representation. It was an underpinning quality of the work, throughout the journey. Sullivan defined aesthetic vision in qualitative research:

Aesthetic vision engages a sensitivity to suggestion, to pattern, to that which is beneath the surface as well as to the surface itself. It requires a

fine attention to detail and form: the perception of relations (tensions and harmonies; the perception of nuance (colors and meaning); and the perception of change (shifts and subtle motions) (p.220-221).

Storytelling conventions were what I used to realise my aesthetic vision. The main devices I used in constructing the teaching stories were the formation of plot within each story, and the use of layering strategies to create dramatic tension. Plot is a narrative device that ‘confers order, sequence, and meaning of a collection of otherwise isolated events’ (Kirkman, 1999, p.2). The construction of each story’s plot was heavily influenced by the form and context of the stories – they were primarily written as research texts intended to unsettle previously told stories. Vignettes were selected from data, and then written with more detail as I sought to create a rich picture for the reader, paying attention to not only what happened, but also where I was, and how I felt, therefore appealing to a variety of the reader’s senses. I used emotional recall to portray incidents richly. I did this by adding extra details from memory. Such details that were not explicitly recorded in my journal, but were recalled by use of the memory box data.

Using the ‘days’ metaphor and the identified themes, I chose specific moments from my teaching journal and then shaped them into stories that were appropriate to the day of the week in which they would be included. Selection of moments was also based on adherence to the conventions of narrative and narrative structuring devices such as plot (Bruner, 1990; Polkinghorne, 1997). I sought dilemmas, tension, and conflict in my journal, elaborated on these and then structured them to create a sense of identification, exploration and then a sense of resolution, rather than completion.

Craig (1997) used ‘telling stories’ methods of inquiry in her research to access beginning teacher knowledge. Craig (1997) described the process of generating research texts from data as an interpretive process (p.62). I took an incident (that had emerged as significant) and retold it in story form. This required me to work out what was a key moment of tension or conflict and find a way to establish the context for the reader, provide a sense of the issue beginning, moving through the

tension, and then finding the appropriate point at which to close, not resolve, the story. This required the use of storytelling elements such as suspense and climax. It also allowed me to once again, narrow and refine my understandings of my data, forcing me to further analyse and then interpret what I had realised and was trying to communicate. For example, in Wednesday I structured the story according to three students that appeared frequently in my journal. I rewrote these situations and then used conventions of plot to introduce tension and conflict and then build the issue to a climactic moment. ‘And then there are the students’ was intended to be an exploration of my bias, preconceived ideas, mistakes and successes with students during my first year of teaching. This story was written for Wednesday because, as stated earlier in this dissertation, research highlights that early in the experience of the first year of teaching, beginning teachers are heavily focused on themselves.

Each story then was started by selecting a particular moment in the teaching journal and then ‘broadening, burrowing, and restorying’ (Craig, 1997, p.62) data in order to craft a teaching story and subsequently the research text. This writing strategy involved ‘broadening, to set the backdrop for the stories; burrowing, to unpack experiences; and restorying, to concentrate on revisited events relative to… shifting knowledge shifted over time’ (Craig, 1997, p.62). I acknowledge the stories as constructions, partial, and incomplete. They are only glimpses of my teaching days.

The stories do not have a clear beginning, middle, and end and do not provide the reader with a tidy resolution in the end. Doecke, Brown & Loughran (2000) warn against such formulaic storytelling of beginning teaching. Fragmentation of the story, through problematic and non-linear telling, means that ‘they convey an impression of struggle to affirm a professional identity – an identity which is all the more interesting because it has been won through struggle (p.345). Like a quilt, I selected patches (moments) based on their particular fabric, colour and texture (themes). The teaching stories in Teaching Daze are layered narratives that explore the chosen theme by building tension, highlighting conflict and

contradiction, and working towards a sense of resolve rather than resolution. The stories are layered and complicated, but not unstructured.

The first layering convention used in the construction of the stories was the use of the symbol ~. This symbol denoted a change in time, place and topic, and allowed me to juxtapose different moments. Further layering occurred later in the crafting of each chapter, and the development of the fictional conversations and poetic researcher realisations, which will be outlined in following sections. This initial disruption to the flow of the story was intended to increase the complexity of the story. It was also the first step I took to create spaces for the reader to be invited into the interpretive process of this investigation. I did this because I wanted to create a distinct space, a pause in the narrative, where the reader is actively invited to wonder and to possibly fill in the gap with their own story. Richardson (1993) explained the use of space, or absence, in social science inquiry, stating that ‘space is left for others to speak, for tension and differences to be acknowledges, celebrated, rather than buried alive’ (p.706). Layering enabled me to create a complex text, to dramatically juxtapose, and also to leave spaces that illustrated the cracks in this issue.

As I invited my critical readers into this work by asking for their impressions first, I also aimed to invite the reader into the text, by acknowledging their responsibility in interpreting the issue actively through the act of reading. Barone (2001) argued that the reader should be actively involved, and that such gaps as I am suggesting, acknowledge and encourage this reading process:

These empty spaces in the text require that the reader actively participate in the (re) construction of the textual world, thereby further subverting authorial privilege and suggesting that interpretive power must be shared… (Barone, 2001, p.163)

Each story contains multiple, fragmented, moments of my teaching days. The moments, as stated, were derived directly from the teaching journal, and were ‘broadened’ through my analysis. In actually re-writing the moments, I used

‘emotional recall’ as a means to vividly recall that particular time and place (Ellis & Bochner, 2000) I relied on the tools of the storyteller (mood, atmosphere, image, metaphor, tension, character) to transform the raw data into a story.

Richardson (1994) explained how such techniques may be used to create a narrative in experimental research writing:

Using dramatic recall, strong metaphors, images, character, unusual phrasing, puns, subtext, and allusions, the writer constructs a sequence of events, a ‘plot’, holding back on interpretation, asking the reader to “relive” the events emotionally (Richardson, 1994, p.521).

As a Drama teacher, I connected this process with the idea that I was putting myself in someone else’s shoes, as actors do, as well as the process of creating a vicarious experience for the reader. In this case, however, the ‘someone else’ was the ‘me’ of 2000. By recreating my experience in narrative form, I was attempting to put myself in my own shoes. When writing these stories in 2003, I relived my first year of teaching by reliving that time by rereading my journal and remembering the experiences through my memory box. I immersed myself whole- heartedly in the thoughts and feelings of the main character – me – during 2000.

The stories are presented in the present tense. This was intended to promote immediacy of the experience, and to allow the reader to feel closer to the experience in relation to time. Tierney (1997) described the use of present tense as an effective means of making the experience seem more immediate. He wrote ‘the story has already happened. But we join in a sense of disbelief because we want to be told how the story ends’ (p.29). Present tense was used to create a sense that the action and events depicted were immediate, even intimate. It was used to quickly engage the reader and to create a sense of intrigue.

The language used in these stories is colloquial. I have attempted to use my teaching voice authentically. Many of the moments portrayed have close

similarities to the experiences described in the teaching journal, maintaining a sense of the ‘me’ as I spoke then in 2000 as a beginning teacher.

The result of the process was the generation of ten stories, one for each of the ten themes. The titles of the stories illuminate the shape of the first year of teaching, and identify my chosen themes: “The moment I decided not to be a teacher” in

Sunday; “It’s all a blur” in Monday; “Where am I?” and “The first of many firsts” in Tuesday; “And then there are the students” in Wednesday; “Not another day” and “Swimming, not sinking” in Thursday; “Personalities and politics” in Friday; and “It’s okay to be me!” in Saturday.

~