Secondary Education in New Zealand

In order to find a discreet group of secondary students that need specific educational provision, we must first have a look at the needs in secondary education in general. Specific groups of students can fall through the cracks without educators recognising that, for these particular learners, intervention may be needed to succeed academically.

During secondary school, New Zealand’s education system’s aim is to not only teach and impart knowledge but to prepare adolescents for tertiary study and entry into the workforce.


The University of Auckland’s Youth’12 Overview tells us that “many things are going well for New Zealand secondary school students; positive family and school environments are reported by most. The majority have good health and are not involved in serious risk taking or problem behaviours. Conversely, small but significant numbers of young people do not feel well supported in family, school or community settings” (Clark et al., 2012, p. 30).

In New Zealand, there are nearly 10,000 students that leave school with almost no qualifications every year (Statistics New Zealand, n.d.a). Who are these young people and why are they struggling to move through New Zealand’s education system successfully?


Highest Attainment of School Leavers 2002 to 2004:

(Statistics New Zealand, n.d.b).

These students are dropping out, getting expelled, and leaving without the necessary qualifications to take them into tertiary education or into wider opportunities within the workforce.




Being absent from class and being consistently truant could be where these students are initially struggling. Of course there can be all types of reasons for being absent and some are legitimate and some aren’t. There are three different types of absence;
  1. Justified absences (e.g. holiday and illness)
  2. Unjustified absences
  3. Intermittent unjustified absences (e.g. truancy and consistently skipping class) (Statistics New Zealand, n.d.b).


Here is a comparison between both legitimate absences and truancy:

(Statistics New Zealand, n.d.b).

The University of Auckland’s Youth’12 Overview found that truancy was “more common among older students aged 17 years or older and among students from more deprived neighbourhoods” (Clark et al., 2012, p. 17).



How many of these unqualified school leavers are in turn being expelled or alienated from school? And for what reasons?

Stand-downs, suspensions, exclusions and expulsions are said to be more of a measure of the school’s reaction to specific behaviours not a direct reflection of student behaviour and can differ from school to school (Education Counts, 2016). The three main reasons for exclusion and expulsion in 2015 were:
  1. Drugs
  2. Continual disobedience
  3. Physical assault on other students (Education Counts, 2016).

Currently, stand-down, suspension and exclusion rates in New Zealand are at their lowest in 16 years (Education Counts, 2016).
  • Stand-down rates have been steadily decreasing since 2006
  • Suspensions have decreased by 49.1% over the last 15 years
  • Exclusion rates have been constant over the past 15 years. There were 883 exclusion cases in 2015 which were received by 869 different students
  • There were 156 expulsion cases in 2015, received by 155 students, but rates have stayed constant very much like that of the exclusion rates (Education Counts, 2016).






  • “Schools continue to stand-down, suspend, and exclude more Māori students than any other ethnic group” (Education Counts, 2016, para. 2).
  • “Pasifika returned to being the group with the highest expulsion rate in 2015” (Education Counts, 2016, para. 2) with the rate of Maori expulsion just slightly lower than that of Pasifika
  • European/Pākehā expulsion rates were similar to that of Asians and both were considerably less than Pasifika and Maori.


Age-standardised expulsion rates by ethnic group (2001 to 2015):

(Statistics New Zealand, n.d.b).




“Male students are more than twice as likely to receive a stand-down, suspension or exclusion, and over four times more likely to be expelled than females” (Education Counts, 2016, para. 2). Ministry of Education’s recent research into the achievements of boys brought about these key findings:
  • “Girls perform better in reading and writing at all school levels and across all ethnic groups and are improving at a greater rate than boys
  • From year 11, boys are leaving school at a faster rate than girls
  • More boys than girls - particularly Māori and Pasifika boys:
    - are stood-down and suspended 
    - are excluded or expelled 
    - gain early leaving exemptions
  • Boys are less likely than girls to gain University Entrance, NCEA, or higher qualifications, or participate in and attain degree-level qualifications
  • Māori and Pasifika boys are less likely to leave school with University Entrance or higher qualifications than boys from other ethnic groups” (Ministry of Education, 2007, para. 5).


“The link between parents’ socio-economic status and a child’s educational and health outcomes is relatively close on some measures. A higher proportion of Māori and Pasifika live in chronic poverty, underperform in employment and education, are overrepresented in prison and as victims of crime, and have poorer health and access to care”
(OECD, 2015, p. 6).


What indicates differences between socio-economics groups?

New Zealand schools have a decile system where each school is rated based on 5 socio-economic indicators for their local community (Ministry of Education, 2016). This then determines the level of funding the school will receive. These 5 indicators are:
  1. Household income
  2. Employment and skill level of parents
  3. How many people are living in one dwelling (household crowding)
  4. Educational qualifications of parents
  5. Parents receiving income support or benefits (Ministry of Education, 2016).

There's a big difference between students that come from middle income families and those that come from lower income households, with the latter often having lower attendance rates, achieving less academically and struggles with health and welfare (Stoll, Fink & Earl, 2002).


Key indicators for a low socio-economic community or household:

  • Low household income (within the lowest 20% in the country)
  • Unemployed parents or employed in low skill level jobs
  • Overcrowded houses, lots of people living under the same roof
  • Parents have little to no educational qualifications
  • High percentage of parents on benefits or income support (Ministry of Education, 2016).

Here we have a clear group of learners at a secondary school level that don’t quite fit into our mainstream education system. They are consistently absent, being expelled and leaving school too soon. The outcome of the above research has shown that the students most at risk are more than likely to be Male, Pasifika or Maori and in low socio-economic groups. Yet we must not exclude those within other ethnicities, genders or socio-economic communities as they do make up the minority.



The NZ government is currently looking into:

  • Increasing participation of disadvantaged groups in early childhood education (Organisation for Economic Co-operation and Development, 2015)
  • Helping students to stay in school longer, encouraging students to get involved with programs like the Youth Guarantee and work together towards further study or getting ready for the workforce. “Youth Guarantee initiatives are about improving the transition from school to further study, work or training. They provide a wider range of learning opportunities, make better use of the education network, and clarify pathways from school”. (Youth Guarantee, n.d., para.1). Initiatives like these make it easier for some students to get back on track to gaining NCEA Level 2 qualifications (OCED, 2015)
  • Raising teaching quality (OCED, 2015)
  • Supplying Alternative Education programmes. For example: “Separate alternative education programmes have been formally available since 2000 for students… who have become alienated from the education system and are either unwilling to attend a regular school, or schools are unwilling to enrol them, in a mainstream setting. In 2007, 1,318 students were enrolled in alternative education programmes” (Statistics New Zealand, n.d.c).


Alternative Education

What is Alternative Education?

“Alternative Education (AE) provides learning opportunities for students aged 13 to 16 years of age who are alienated from mainstream schooling” (Alternative Education National Body, 2016, para. 4).

"The (AENB) recognises that Alternative Education is a specialised service meeting the educational needs for some of Aotearoa New Zealand’s most ‘at risk’ and transient young people. AE providers strive to engage these young people in learning. This is accomplished by utilising a holistic approach and creating a whanau environment. Whilst a student is in AE they gain the confidence to make their next step in education, albeit a return to mainstream schooling, other training opportunities, or employment” (AENB, 2016, para. 4-5).

  • Operations in 10 regions across New Zealand
  • In 2012 there were 14 Activity Centres across New Zealand
  • Majority of students are years 9, 10 and 11
  • Governed by a local school (Ministry of Education, 2013).

  • Students often come from "the top end of the offending scale” (Sanders & Munford, 2001, p.7)
  • Young people that “no other agency” (Sanders & Munford, 2001, p.7) could achieve success with
  • “Practitioners identify the positive characteristics, strengths and capacities of the individuals with whom they work in addition to addressing the issues, problems and challenges that are present. In this sense it provides a realistic and positive framework around which changes can be worked towards” (Sanders & Munford, 2001, p.7).
  • In the mid 1990s the Ministry of Education introduced the School-Based Alternative Education (SBAE) policy. This was sparked by the growing number of students struggling in /mainstream education’” (Sanders & Munford, 2001, p.11). It wasn’t until 2000 when the government formally acknowledged the need for alt ed and granted state funding. This has then “enabled 1820 13 to 15-year-olds to get alternative education every year at a cost of $11,100 per student” (Tawhiao, 2010, para.18).


Key provisions

  • Stabilising and improving social behaviour
  • Addressing and improving educational needs
  • Improving attendance
  • Working with wider whanau and family
  • Preparation for future employment
  • Skills based training
  • Work experience
  • Sport/recreational activities
  • Emotional support, relationships, self-esteem, confidence
  • Communication skills
  • Practical assistance e.g. obtaining benefits, accommodation or court support (Sanders & Munford, 2001)
  • Encouraging wider community support.

Successes

  • Reduction in substance abuse
  • Increased communication and academic skills
  • Stronger relationships
  • Improved literacy and numeracy
  • Improved general health
  • Employment and work experience
  • Return to mainstream school
  • Enrolment in trade certificates and courses
  • Reduction in justice issues and offences.


Oxenham (2010) / Fairfax Media / Tagata Pasifika Resource
Development Trust student Jonah Mata’u.

As an example of Alternative Education's successes, here's Jonah (14), of Samoan, Niuean and Maori descent, stole his teacher’s USB memory stick and was excluded from school.


Jonah was helped by an Alternative Education centre called Tangata Pasifika Resources and Development Trust. The centre was established 24 years ago in Auckland central and focused on supporting Pacific immigrants with help from chaplain Mua Strickson-Pua. “Overall 82 percent of the intakes have positive exit outcomes” (Tawhiao, 2010, para.19).

Jonah says “They’ve got poetry, music, hip hop, art and hospitality… he teaches you a lot about discipline and respect for people. I think they've seen the change in me”(Tawhiao, 2010, para.8).

"Jonah's parents have noticed changes. He has taken on the role of supportive brother, helping around the home and taking responsibility… he speaks to his parents with respect, works hard in class, and has a part time job” (Tawhiao, 2010, para.26).


Seeing a real need for a facility in the North Shore of Auckland, the Marist Brothers established Marist Alternative Education Centre in 1999 which is currently run by Shane Coleman.

 Skelton (2015) / Fairfax Media / Marist Alternative Education
Centre student Jordan Cherrington, 16.

Marist caters for a dozen year 9 to 11 students at a time (Walters, 2015). In 2015, one out of three students passed NCEA level 1 (Walters, 2015). In 2014, four out of five students passed NCEA level 1 (Walters, 2015), “The students take mainstream subjects such as English, maths, science, PE, art and home economics, along with the ASDAN programme – a life skills course” (Walters, 2015, para.20)

Marist Alternative Education Centre boasts many successful former students that have now moved on including, Jack van Biljon, "who attended Marist in 2011 after being kicked out of Long Bay College for fighting. He is now working as an apprentice builder" (Walters, 2015, para.83-88). Another student that attended Marist has now become a "hip-hop dancer and now works for Maori Television; others have become successful young parents" (Walters, 2015, para.83-88).



Radical Model: Alternative Education Art Therapy Programme


Assisting educators in Alternative Education, the Alt Art Programme is an Art Therapy based creative programme for struggling young New Zealanders in Alternative Education.



Alt Art uses art therapy in conjunction with relevant curriculum based visual art content for use within the Alternative Education systems.



“The term “art therapy” was coined in 1942 by the artist Adrian Hill. Adrian was in a sanitarium for an illness when he discovered the value in drawing and painting… Hill would go on to spend much of his energy spreading ideas about art as therapy, eventually becoming President of the British Association of Art Therapists” (LeVine, 2016, p.6).

Art therapy has been practiced since the 1940s and 1950s (Malchiodi, 2007), when it was initially offered to hospital patients. It is still practiced today and is mainly used by therapists and organisations as a form of psychotherapy to help patients with mental, emotional and physical well-being. Art therapy is widely used among people living with health and disability issues. “The American Art Therapy Association states that “Art therapy is an integrative mental health profession that combines knowledge and understanding of human development and psychological theories and techniques with visual arts and the creative process” (LeVine, 2016, p.9).

The use of the creative arts to help people may sound a little strange at first, but it is used worldwide and a lot more common than we might think. “It is based on the concept that people can heal through the use of imagination and creative expression” (Holt & MacDonald, 2011, p.114). Art therapy isn’t just painting and drawing but also includes expression through music, dance, drama and movement. Anger can be let out on drums, while emotions, memories or traumas may be expressed through creative writing, drawing or song. “These therapies will not, of course, appeal to everyone, but they are supported by a surprisingly rigorous body of scientific evidence” (Holt & MacDonald, 2011, p.114).

Art Therapy in New Zealand

The Professional Association for Arts Therapy in Australia, New Zealand and Singapore (ANZATA) boasts 500 practicing and available Art Therapists in their directory, with over 110 (both practicing professionals and trainees) in New Zealand alone (ANZATA, 2017b). ANZATA provides in depth resources and material, including:

  • Employment Opportunities,
  • Conferences and Courses,
  • Workshops and Seminars,
  • Exhibitions and Events,
  • Spaces for hire,
  • Volunteering Opportunities,
  • Grants and Funding,
  • Establishing Regional Groups,
  • Training,
  • Research and Publications,
  • Code of ethics, and
  • Code of conduct (ANZATA, 2017c).


Why is it essential to the Alt Art programme?

Art therapy can work really well for children and young people and it can be an effective way to encourage better communication skills. "Art therapists use art media, and often the verbal processing of produced imagery, to help people resolve conflicts and problems, develop interpersonal skills, manage behavior, reduce stress, increase self-esteem and self-awareness, and achieve insight” (LeVine, 2016, p.9). Students get the chance to express themselves and communicate in a visual, sensory and action based way.

As many of students in Alternative Education struggle with communication, art therapy can be of real value being used alongside the current New Zealand Visual Arts curriculum.


The Alt Art Programme endeavours to:

  • Increase emotional and mental stability
  • Increase self-worth and confidence
  • Increase social relations and behavior
  • Increase communication skills
  • Encourage culture and diversity
  • Encourage the use of languages including Te Reo
  • Encourage the use of Māori and Pasifika art and design
  • Increase community involvement and feelings of belonging
  • Teach the current NZ Visual Art Curriculum
  • Provide support and counselling
  • Compliment literacy and numeracy programmes
  • Prepare students for reintegration into mainstream schools
  • Encourage creative career goals
  • Encourage life-long learning

Bransgrove (2013a) / Fairfax Media / Alternative Education pupils and tutors
stand in front of their recently completed art wall.

Knowledge, its content and structure:
The majority of the students in alternate education have been excluded from school at a very young age so their existing knowledge may not be great. It is vital that the art education used in Alternative Education is not just art history but also a modern take on current creative movements and trends. Using art history as a base for learning the background and history of techniques is important and then pulling that through and integrating those techniques into a more relevant, modern, creative theme can help the students learn in a broader way. “A written curriculum in art, as in any other subject, is a guide. It provides a foundation on which teachers can build a programme that will take into account the interests, needs and abilities of the individual, the class and the larger community” (Department of Education, 1978 p.49).

For example, the use of current technology or social media. All students, in Alternative Education or not, are using mobile phones, computers and technology every day. It is a big part of their lives. Being able to use this familiarity within teaching art can help the students stay focused and interested, working with something they are already interested in and feel confident about “Art activities should be relevant to the needs of the pupils” (Department of Education, 1978 p.54).

Simply using messaging text or emoticons as a basis for an artwork as a group could be a fantastic way to implement relevant art within the class. The teacher can then discuss processes, techniques and connections with art history and other art practices to solidify the lesson. Using digital devices to produce art or display art can also keep class interesting and relevant to young people today (Ministry of Education, 2015).

The use of art therapy techniques can be included throughout daily lessons, encouraging the students to be calm, approach their school work happily and enjoy what they are doing. Being able to review work with the teacher, dialogue and discuss the meaning or reasoning behind student’s work is essential. Where necessary, further counselling style meetings can be organised, where students are seen one on one and tough issues talked about and students supported.



Learning and the learner’s role:
Learning can be both a group activity or an individual activity, art can be both too. Art Therapist and Clinical Counselor Malchiodi, reports of the affects group art making made to a group of child sex abuse survivors participating in art therapy; “The play and creativity involved in group art making contributed to a sense of camaraderie among group members. Activities in which group members were encouraged to work together brought many members closer to each other” (Malchiodi, 2007, p. 200).



Since the Alternative Education schools tend to only have a few students at a time it is quite easily set up for small group activities or partnerships between students. This also gives the students more one on one time with the teacher or leaders of the organisation. This can give opportunities for group art projects such as community murals, exhibitions and shows.

Smith (2011) / Fairfax Media / Zechariah Monga, far right, and his team will host an exhibition
at Art Station on Auckland's Ponsonby Road.

Individual learning can give the students the opportunity to experiment with personal and emotional art, something selfish, something belonging to them. These types of projects can then become very therapeutic, with the influence of art therapy helping the students work through current issues, memories, pain or fear throughout the expressions of a painting, song, music, sculpture, design or craft.

Achieving can be competitive between some students, this can drive ambition and the want for success. In an Alternative Education situation, it may not be the best idea to compete but would clearly be the teacher’s decision given the particular students in class, what artwork they are creating and whether or not competition is beneficial for the group.



Teaching and the teacher’s role:
When teaching art to Alternative Education students it really is like an open canvas, the students may very well drive the lessons, encouraging or inspiring the teacher to come up with a lesson on the spot. For example, this could be because of an event in a student’s life, an event in media, or something local that is either troubling the teens or giving a cause for celebration.


Alternative Education teachers can be seen less like an expert trying to impart knowledge but that of an inspiring friend to their students. As Meighan & Harber explain, teachers can be “a facilitator and consultant, where the teacher responds to the initiatives of the learners…” (Meighan & Harber, 2012, p.229) gaining ideas, advice and instruction for their lesson plans. This also gives the teacher the chance to be more aware of their students and what issues they may be facing that day that could be hindering their learning, much like it had when they were enrolled in mainstream school. This in turn can also cause the teacher to become more of a counsellor or social worker “The combination of education and social work in one setting is an effective way of delivering both educational and supportive services and enables synergies to be achieved for pupils, particularly where there are significant social and educational challenges” (Sanders & Munford, 2001, p.9).

Tuckey (2013) / Fairfax Media / Lyriks alternative school student Te Kahurangi Tepaki-Huaki
and tutor Noel Faifai, in front of works from the students’ exhibition.

Balancing the teacher and therapist roles is where the Alt Art Programme really shines. It’s hard work but the teachers wearing these two hats are able to cover much more ground while combining general well-being with the visual art curriculum.




Within the Alternative Education classroom, it is vital that discipline is respected and regarded as very important. Most of the students in Alternative Education are very troubled, have behavioural issues and problems with authority. Although a strong leader will be extremely necessary, it will be important that staff be sensitive towards certain issues and different young people giving their background or circumstances. So it is important that staff take a very open approach to the way they administer discipline using a mixture of all three kinds: authoritarian, autonomous and democratic (Meighan & Harber, 2012).

There will need to be a sense of trust able to be gained from the students of their teachers and peers before they can begin to relax, open up and get involved freely without hesitation – and then ultimately begin to enjoy their class life. “explaining to the students that you will always be there to ‘catch them if they fall’ helps to provide them with the security net they need to take those risks so vital to their academic and social development” (Dixie, 2011, p.33).



Resources – the great thing about art is that you don’t need lots of equipment to get creating. Paint, brushes, paper and canvas can all be used as resources but getting Alternative Education students out into the fresh air to collect items at the beach or a park to bring back and sculpt or create with is a simple cost effective way to teach visual art. Mixing the creating with outdoor activities will also encourage the positive effects of fresh air, natural elements and the calming qualities of nature. That said, basic drawing, painting and sculpting resources are a must for a good art classroom, but resources are never limited to what we might tend to think are ‘the basics’.

Rewards - incentives can be given throughout the lessons dependent on the current situation of the group and its’ members. Teachers can decide the way that achievements are celebrated when they are due, keeping in mind competitiveness and any sensitivity it may cause for some struggling students. Students in both the Highbury Programme and Marist Alternative Education Centre were “supported to achieve, and their success were recognised and celebrated” (Sanders & Munford, 2001, p.8).





Bransgrove (2013b) / Fairfax Media / Next to a taniwha artwork created by a group from Alternative Education...
They each entered an artwork in the Youth Week Art Exhibition and Competition,
Live like a Legend, held at the Community College restaurant.

Punishments
– Many of the students involved in Alternative Education have come from tough family lives, including being abused in some way or another and have been known to be “high or serious offenders” (Sanders & Munford, 2001, p.7). Warnings can be given when needed, but if general standards of the particular organization are not met, or their services exploited - exclusion can be a final measure.


Extra-curricular activities – getting involved in groups outside of class is encouraged. Sports activities, community activities, churches or religion, cultural activities and time with family is a great way to meet new people and encourages young people to fill their spare time with quality recreation, leaving little time to ‘act out’. Students can also draw inspiration from these activities and people in their lives for their artwork.



A good space is essential for both the students and teachers to thrive. There needs to be space enough for creating, making a mess and for the students to not be squished in together and in each other’s personal space. “Encouraging the children to use a wide range of media within a contained environment: one in which structure and safety in the form of direction and support are given, but where care is taken to ensure that space is allowed within which personal choice and a high degree of spontaneity may flourish” (Waller and Gilroy, 1992, p.143). Resource rooms or centres with large spaces are often utilised and can be used in many ways. Spaces for a more formal teaching layout, with desks and a teacher at the head of the classroom can be created, while shifting furniture and accommodating art projects of all sizes is also essential. The ability to be able to go out into the community to create art in an ‘open air’ manner is also important and a great way to get the teens involved in a positive way and give back to their community.

An organic approach is necessary with the addition of spaces where students can be alone, feel as though they belong, and also have one on one time with the teacher. This is important, especially when creating or expressing personal or emotional themes within their art “The young people also talked of their experiences in the mainstream education system and of their desire to experience education in a setting where they felt they were accepted and belonged” (Sanders & Munford, 2001, p.15).





An Alternative Education art studio or classroom using the Alt Art Programme should feel:



Parents, caregivers, whanau and significant people in Alternative Education’s student’s lives are important and to be seen as partners “working to agreed schedules that involve negotiation and inputs from both parties” (Meighan & Harber, 2012, p232.). Teachers need to work alongside and closely with some parents, but for some students, parents can BE the problem.

At the Highbury Programme young people and their parents “identified high levels of violence, alcohol and drug use as significant aspects of their life experiences” (Sanders & Munford, 2001, p. 15). So it is essential that communication is open and honest with all involved, and teachers are aware of any issues students may have with their caregivers. Teachers need to keep in mind the safety and well-being of their students at all times, and be aware of any need to counsel or advise on sensitive topics.

How will it fit?

Although the Alt Art programme seems to be good in theory, there are some issues that have arisen throughout my research regarding how it could be implemented into the current education system in New Zealand. The main issues that have arisen so far are outlined below:





The risk of untrained and unqualified therapists
One of the main problems that could arise within this education model would be that of the importance of Alt Art staff having been sufficiently trained and having gained suitable qualifications. This is not limited to training within Education but is also necessary in Counselling and Art Therapy especially. Teachers need to know how to educate the programmes' young people at their appropriate levels, but also need to be aware of behavioural, mental, physical, and emotional issues on a daily basis. The majority of the students coming to the program are struggling (as outlined above) and need unique care.

Appropriate training, knowledge and experience within art therapy is extremely important, and art therapy can be quite difficult if not performed professionally. According to ANZATA, 2017, “Untrained Art Therapists can do damage” (ANZATA, 2017a, para.5). ANZATA believe it is “critical” that they highlight how dangerous art therapy can be - unless performed by a qualified, approved practitioner.

According to Westwood’s, 2009, summary of Springham's, “Through the eyes of the law: What is it about art that can harm people?”, highlights a specific case in the UK which took an ugly turn but helps to clarify the need for qualified and experienced therapists. The practitioner in question had several years of counselling experience under their belt, and had completed “two short courses which had the words ‘art therapy’ in their title” (p.1). During a treatment session that included a bereaved patient with a history of substance abuse, the group were asked to “portray all of the bad things in their lives, the guilt they felt about what they had done and everything negative into the drawing of an animal.” The troubled patient then proceeded to draw a “hyena with blood coming from its mouth, representing a scavenger with no conscience or morals”. Sharing this image with the group resulted in the patient becoming extremely angry and distraught. In an effort to continue the treatment session, the patient was then asked what they would like to say or do to the animal drawing. After expressing the need to “swear and rip it up, punch and smash it” the practitioner “encouraged him to express himself and go with the feeling”. This triggered a torrent of uncontrolled action where the client punched and head butted the image trying to destroy the picture. In this act the client injured himself resulting in partial tetraplegia” (p.2). Although this is an extreme example, Springham, 2008, suggests it is not uncommon and clearly illustrates the need for highly qualified therapists to be working with young, troubled adolescents.





Staff Resilience

Along with correct experience and qualifications, educators involved in the Alt Art programme will need to be very confident and have a strong sense of self. They would need to be strong of character, resilient and able to work within high risk situations almost daily. Their level of professionalism is important, respect for the programme and students, and a high level of confidentiality needs to be practiced at all times. Staff may come across violence and verbal abuse from both students and parents, and will need to be able to act appropriately in these serious situations. Simple first aid and self-defence courses would need to be built into the programme to help prepare all educators.

Putting it simply, the staff needed, will need to be sufficiently qualified in Education, Counselling and Art Therapy. “There is an expectation that therapists will be able to assess and offer treatment that would not take a client beyond their tolerance for heightened emotional states” (Westwood, 2009, p.2). With a possible background in Psychology, up-to-date first aid skills, self-defence training, and sufficient experience with troubled adolescents is needed. Surely this then, is a specialist position, that could quite possibly be quite difficult to fill. Could it be that since Alternate Education already exists successfully today without art therapy - it is then the very act of adding art therapy to this field that is causing the Alt Art model to start hitting barriers here?

Funding

In the Marist Alternative Education Centre, up to 90% of the students in Alternative Education struggle with learning difficulties or mental health issues (Skelton, 2015). If we are to assume that many, or the majority of students in Alternative Education are battling with these mental illnesses, are they therefore classed as ‘high needs’ and should we then also class them as disabled? According to the Ministry of Education, 2016a, “High needs means that they may need to have the curriculum adapted for them, and may need support from specialist staff, additional teaching time and teacher’s aide support” (para.4). This is not including students who are physically disabled, but also excluded or expelled and turn to Alternative Education. Funding is needed for all of these children, and to be able to accommodate the specialist teachers in the Alt Art programme – would there be enough funding?

Marist receives approximately $17,000 per student each year from the Ministry of Education (Skelton, 2015), and say it is just not enough “It’s not enough to fund one teacher per four students for the food, transport, technology and activities the kids need for a fair shot” (para.66-67). Marist regularly self-funds and staff are regularly applying for grants and funding where they can, while generous community organisations pitch in too. The Ministry of Education funds almost 2000 Alternative Education centres throughout New Zealand which in turn, “costs the government a total of $21 Million a year” (para.70).

If Auckland’s Marist, is having to go over and above the funds allocated to them by the government, then surely they are not receiving enough. This could also indicate that many Alternative Education providers throughout the country are also struggling to make ends meet for their students and staff. This also brings up another issue, where could an Art Therapist fit into all of this? With their necessary space needed, extra resources, and potentially larger salary? The position would have a severe element of volunteering to it, salary would be low and it would not be the kind of position someone who’s heart wasn’t in it for the right reasons could fit. Money could never be a factor, a position like this would have to go to someone who is passionate and dedicated to making a difference in New Zealand's young people’s lives.

Resources and Location

With lack of funding comes lack of resources. As seen above with Auckland’s Marist centre, many Alternative Education programmes are digging into their own pockets to be able to purchase resources such as gym equipment and iPads for their classes. Sponsors and regular donations or fundraising from the community helps aid the little the government does fund, but it is quite clear that it really is not enough to be able to run a centre they way most would like to. This does mean that resources are slim, but together with the community and creative minds, a model like Art Alt can be taken to the street and simple steps taken to be able to create in an artistic way. For an example, an approved mural space out in the street could be sponsored by a local paint company such as Resene for Mitre 10 Mega. It is not uncommon for companies like this to come on board, supply paint, brushes, and graffiti guard as long as the artists include their logo or mention their name at the base of the artwork. Other resources could be sourced from printing companies who are recycling paper and card, or other companies that may have plastic objects and recycling waste that could be used for sculptures. In saying this, examples like this sound rather easy to obtain and organise but on a daily basis, constantly adapting tasks for The New Zealand Curriculum could still prove difficult if the resources aren’t abundant. The very act of sourcing material and planning lessons or units around limited resources could be a large strain on the education staff as it may at times be very difficult compared to a mainstream school with art, photography, printing rooms and resource rooms stacked full of all the paper, paint and tools any teacher requires. Learning to teach on a very limited budget over a long period of time and still being able to make the most for the students would be very difficult and at times, almost impossible.

Together with funding and resources, another rather tough part of providing for Alternative Education students is that of simply finding a classroom to work in. Local churches, resource centres, YMCA’s and town halls can be hired out but at a cost. Many places may not want the type of children Alternative Education is teaching ‘hanging out’ around their establishments. As all Alternative Education centres are associated or connected to a local school, they can often find a classroom or space through the school itself. Keeping the kids away from the very schools they were expelled from is probably a better idea though and keeping them central and out of harm’s way where they feel safe and accepted is important.

Accommodating for a broader age range

Alternative Education currently only caters for students; years 9-11. Why does the Ministry of Education not cater for years 12 and 13? To be able to carry on through NCEA level 2 and 3 would be a real accomplishment. Is it that the students, after getting back on their feet and maybe obtaining NCEA Level 1, re-enter school to finish Level 2 and 3? Or is it that they are then seen at Year 12 to be old enough to leave school entirely and look for employment instead? Is this encouraging life-long learning? Surely that isn’t the road we are encouraging them to take? Or is it our only option when even Alternative Education hasn’t succeeded?



Curriculum 

The New Zealand Curriculum applies to all students in schools, “irrespective of their gender, sexuality, ethnicity, belief, ability or disability, social or cultural background, or geographical location” (Ministry of Education, 2007, p.6). The Alt Art programme also holds this non-discriminatory view, highlighting the need for alternative means of education and opportunities for students who can’t thrive or function successfully in a mainstream school atmosphere.

Many of the visions, principles, values and key competencies of The New Zealand Curriculum are all also integrated within the Alt Art and Alternative Education programmes - including:

“Our vision is for young people:
  • who will be creative, energetic, and enterprising…
  • who, in their school years, will continue to develop values, knowledge, and competencies that will enable them to live full and satisfying lives…
  • who will be confident, connected, actively involved, and lifelong learners…
  • confident – positive in their own identity…
  • connected – able to relate well to others, effective users of communication tools, connected to the land and environment, members of communities…
  • lifelong learners – critical and creative thinkers, active seekers, users and creators of knowledge” (Ministry of Education, 2007, p.8).

Putting students at the centre of teaching and learning is important, and these foundational principles for The New Zealand Curriculum run alongside Alt Art’s principles also. Having high expectations, teaching children how to learn, encouraging whānau, family, and community support, the Treaty of Waitangi, cultural diversity, and the drive to continue learning past the school years are the same. The fact that the Ministry of Education, 2007, states that the curriculum is inclusive, “non-sexist, non-racist, and non-discriminatory” (p.9) really resonates with the Alt Art programme and its passion in giving all students a second chance.

The values that are to be encouraged within mainstream schools through the curriculum are also strong foundations from which Alt Art and Alternative Education is run. Some of the values that Ministry of Education, 2007, encourages throughout The New Zealand Curriculum that are also upheld and encouraged by the Alt Art programme include:


Treaty of Waitangi and Tātaiako 

Because the Alt Art programme is designed to fit around The New Zealand Curriculum, extending the opportunity for troubled teens to further their education outside of expulsion or exclusion, it is only right that Alt Art sits in partnership with the Treaty of Waitangi as The New Zealand Curriculum does. The Alt Art programme recognises the Treaty of Waitangi principles and strives to respect and encourage all Te Reo and to apply Māori pedagogies throughout the programme. Simple Maori pedagogies that are evident in the above radical model and that can be encouraged furthermore include:
  • Encouraging Kotahitanga (unity),
  • Showing Manaakitanga (respect, care, hospitality) to one another,
  • Exercising and providing Ahurutanga (safety),
  • Strong Whanaungatanga (relationships) with friends, family and teachers,
  • Encouraging Te Hiringa (passion) within creativity and schoolwork,
  • Respect for Mana Whenua (Belonging to the land), our place in this world and our community,
  • Encourage Hauroa (well-being) in themselves and caring for others,
  • Ako (learning) collaborative learning and teaching.

This also includes the importance of the cultural competencies of Tātaiako and the constant learning all teachers must integrate into their educational practice. This is vital in Alternative Education as the statistics above have indicated the level of Māori and Polynesian young people who are being expelled, stood down, or excluded is substantial. It is important to be able to respect and relate to student’s diverse language and culture, and encourage this throughout their art and creative expression.

Assessment

The Ministry of Education, 2007, states that “the primary purpose of assessment is to improve students’ learning” (p.39) and the current curriculum model leaves a vast amount of room for teachers to be flexible with what they teach. This is fantastic for Alt Art educators as they can cater for the higher needs of the students in Alternative Education. The main goal is to help students from year 9-11 to prepare and work towards NCEA. Once again as mentioned above, as Alternative Education is only funded for students’ years 9-11, this then means that NCEA Level 1 is the main goal, when there is no reason why years 12 and 13 can’t be included with NCEA Levels 2 and 3 and worked towards also. Of course there may be some cases where NCEA Levels 2 and 3 are able to be obtained for younger, especially talented Alternative Education students. Surely these would be few and far between given the above previously covered data but certainly not completely ruled out. Striving and achieving high academic standards is part of the programme and is also part of The New Zealand Curriculum.

Graduating Teachers Standards and Code of Ethics

Alt Art is designed to work alongside and using The New Zealand Curriculum, so there are many similarities to how it is managed. As for the Graduating Teacher Standards and Code of Ethics, each element can be applied to the Alt Art programme, helping teachers to be professional and of a high standard. It gives educators many opportunities to practice these standards and can help them to continue to progress in their professional careers in education. Keeping in mind the four fundamental principles: autonomy, justice, responsible care and truth, in putting the learner’s achievements and needs first, educators can focus on being professional and working within the standard guidelines for success. Not only for personal teaching careers but for each and every student that pass through the Alt Art programme.

Alt Art has been developed as a creative enhancement to the already existing Alternative Education system in play today, so together with government standards, ethics, assessments, and Tātaiako, this radical model is designed to simply slot into the current system to enhance it creatively. Therefore, curriculum, code of ethics, and teaching standards, should all apply to this programme for it to function in the current education system successfully.





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