The Renaissance and the Early Modern period: Descartes

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Focus

The purpose of this study is to determine the degree to which narrative arts activities (or learning tasks designed to allow the portrayal of a personal story according to the ideals of narrative therapy) are meaningful in the facilitation of possible self-concept development or growth in Grade 9 learners – guided by particular outcomes of the Life Orientation and Arts and Culture curricula. The site of the study is a private faith-based school in Gauteng (South Africa). The process will utilise the cooperation of fellow teachers as data-collectors. This project will attempt to explore the potential of narrative arts activities in the possible self-development of the individual learner – and the effect these types of activity have on group functioning. This research project could possibly make a contribution to the existing pool of arts-based literature in the following ways: firstly, it is, unlike other studies, an arts approach (a combination of arts modalities) and therefore not an art (only) approach; secondly, this study removes the therapeutic arts experience from the separate or privileged counselling environment and thrusts this therapeutic arts experience into a classroom or educational context – with legitimate curriculum aims – in which learners may engage freely with the arts in a non-therapeutic environment in an attempt either to enhance or to alter personal insight whilst interacting with others, and, thirdly, the two-month learning programme written for this study uniquely combines the aims of narrative therapy, the therapeutic arts and the adolescent self-concept. This application of narrative arts activities spanning a two-month period is a methodologically novel idea within the existing body of current arts-based studies. The Grade 9 school context, I believe, places the study within a more approachable environment for teachers who might possibly be interested in emulating the work done within the confines of this study. I coined the concept of narrative arts activities for the purposes of this study and am of the opinion that this concept may contribute to vocabulary or to conceptual frameworks and become a useful phrase for linking the therapeutic arts-based contexts and educational environments. However, I am also of the opinion that the concept is applicable to a wider range of scenarios.

Rationale

I hold a generic view of counselling and concur with Schoeman and Van der Walt (2001) when they describe counselling (or guidance within the context of this study) as a procedure that necessitates interviewing, “walking alongside someone” and suggesting specific options in order to solve problems that could have an impact on the future progress of the individual. My reason for stating this is that I wish to make clear my stance as an artist-counsellor-teacher who has learned through personal experience that I may not prescribe, but that I may only assist the individual to discover the “beautiful” or “possible”, and that thereafter I need to trust the individual to position himself or herself. For the past nine years I have been teaching art in the junior and senior primary, and in the junior secondary phases, and this has fostered my interest in art as a tool for self-enhancement.
In my Master’s degree I explored the possibilities of including multiple activities – gleaned from certain visual and expressive arts therapies – in order to enhance the counselling experience for the individual learner. In my doctoral study I decided to enlarge my individual learner and arts counselling focus to serve a larger population, and it was for this purpose that I decided to situate my study within the context of the Life Orientation classroom, in which my research interests and teaching obligations or capacities naturally align and complement each other in the serving of curricula outcomes.
Within the educational environment in which this explorative study will be conducted, the Life Orientation curriculum does not make mention of counselling per se, but it does highlight guidance within the context of this area of learning. However, as a qualified educational counsellor (not an educational psychologist) I do feel competent to state that the learning outcomes guiding this study suggest or imply that the foundational aspects of counselling – and even psychotherapy – could be supportive elements to further aspects of self-development. It is for this reason that I consulted the literature pertaining to these fields and incorporated them into the conceptual framework.

Interpretive or naturalistic paradigm

The interpretive paradigm grew out of the hermeneutic tradition … Reality, it is suggested should be interpreted in terms of participants’ understandings. Human inquiry came to be seen as the study of people in terms of interpretation of their own lifeworld experiences (McNiff & Whitehead, 2000:161). Interpretivist knowledge must involve a knower (a social being) who constructs the knowledge socially. Interpretive research is mediated information because it comprises the researcher’s account of other people’s accounts by means of a chosen medium. The fact that the emphasis is on the interpretation of the researcher may easily overshadow the standing of the original informants during the reporting phase. The rich descriptive element of interpretivist research may be inspirational, but it does not affect change (McNiff & Whitehead, 2000).
Language is the medium by means of which we construct meaning. Sharry (2004) expounds on this in his explanation of the social constructivist paradigm which highlights certain interpretivist ideals. It is for this reason that I have chosen to include some of Sharry’s (2004) views regarding the social constructivist paradigm, although it is not a paradigm which I intend employing. The ability to be both self-reflexive and self-critical is a key aspect of the therapeutic relationship, and therefore this relationship becomes a collaborative co-construction between therapist and client. It relies heavily on the client as an expert on his own life. Language is the means used to convey the meanings and beliefs that people construct in the course of continual dialogue, whether through individual interactions or the collective media. However, as language does not provide a neutral version of reality it becomes instrumental in shaping and creating reality (Sharry, 2004). According to Sharry (2004) social constructivism alerts the counsellor to the necessity of being non- discriminatory in multicultural practice. It awakens self-awareness in the counsellor to consider (even his own) cultural biases and to be sensitive to the impact of the particular identities and cultural backgrounds of the clients on the counselling scenario.

Table of contents :

• • LIST OF TABLES
  • LIST OF FIGURES
  • Key Terms
  • Summary
    • 1 Background and orientation
    • 1.1 Focus
    • 1.2 Critical questions and significance of the study
    • 1.2.1 Statement of purpose
    • 1.2.2 Significance of the study
    • 1.3 Rationale
    • 1.4 The nature of inquiry
    • 1.4.1 Interpretive or naturalistic paradigm
    • 1.4.2 Phenomenology
    • 1.4.3 Postmodern elements
    • 1.5 Mode of inquiry
    • 1.6 Research site
    • 1.7 Multimethod data collection plan
    • 1.8 Data analysis strategies
    • 1.9 Trustworthiness – quality assurance
    • 1.10 Ethical considerations
    • 1.11 Outline of chapters
    • 2 Narrative counselling, the arts, arts-based research, and narrative arts experiences
    • 2.1 Introduction
    • 2.2 Narrative therapy, culture and storytelling
    • 2.2.1 Orientation
    • 2.2.2 Storytelling in the past and present
    • 2.2.3 The transformation of storytelling and storytelling in therapy
    • 2.2.4 The cultural foundations of psychotherapy and narrative
    • 2.3 Postmodernism
    • 2.4 A closer look
    • 2.4.1 Introduction
    • 2.4.2 Basic assumptions of narrative therapy
    • 2.4.3 The basic process of narrative therapy
    • 2.4.4 The process within a session
    • 2.4.5 Externalising conversations
    • 2.4.6 Involving an appreciative audience and documenting progress evidence
    • 2.4.7 The therapist as collaborator
    • 2.4.8 The therapist is focussed on stories
    • 2.4.9 Narrative interviewing
    • 2.4.10 The strengths-based perspective
    • 2.4.11 Working with groups
    • 2.5 The arts and their therapeutic value
    • 2.5.1 Introduction to the arts
    • 2.5.2 The arts and narrative meaning
    • 2.5.2.1 Orientation
    • 2.5.2.2 Creativity and definitional confusion
    • 2.5.2.3 The amorphous and elusive nature of arts-based research
    • 2.5.3 Benefits, themes and characteristics of the arts therapies
    • 2.5.4 A selection of specific arts and media applications within the therapeutic setting
    • 2.5.4.1 Orientation
    • 2.5.4.2 Artwork, drawing, worksheets and workbooks
    • 2.5.4.3 Digital photography and phototherapy advances
    • 2.5.4.4 Telling stories using the fotodialogo method
    • 2.5.4.5 Mural-making and self-understanding
    • 2.5.4.6 Employing video as a therapeutic medium
    • 2.5.4.7 Video self-modelling
    • 2.5.5 Arts experiences in group contexts
    • 2.5.5.1 Orientation
    • 2.5.5.2 An art therapy group setting in a psychiatric hospital
    • 2.5.5.3 An outdoor clay group sculpture in a therapeutic centre
    • 2.5.5.4 Self-boxes for groups with trust difficulties
    • 2.5.5.5 Playback theatre and group communication
    • 2.5.5.6 Using music in group work and group learning
    • 2.5.6 Positioning narrative arts research activities within the examples from literature
    • 2.5.7 Narrative and the arts combined in practice and research
    • 2.5.7.1 Orientation: the usefulness of art for narrative externalisation
    • 2.5.7.2 Externalising problems through art and writing
    • 2.5.7.3 Children’s drawings and creating storybooks in family therapy
    • 2.5.7.4 Drama therapy and filmmaking with pre-adolescents
    • 2.5.7.5 Artistic narratives during pregnancy
    • 2.5.7.6 Art therapy and art-making for women with breast cancer
    • 2.5.7.7 Narratives of art-making in chronic fatigue syndrome/myalgic encephalomyelitis
    • 2.5.7.8 A relational-cultural approach to using art therapy within a girls’ group
    • 2.6 Conclusion
    • 2.6.1 Narrative
    • 2.6.2 The arts
    • 2.6.3 Final reflective comment
    • 3 Literature Overview: Self-concept
    • 3.1 Introduction
    • 3.2 From the ancient past to the post-modern self
    • 3.2.1 Orientation
    • 3.2.2 Classical era: Socrates and Plato, and Aristotle
    • 3.2.2.1 Socrates and Plato
    • 3.2.2.2 Aristotle
    • 3.2.3 The Middle Ages: Thomas Aquinas
    • 3.2.4 The Renaissance and the Early Modern period: Descartes
    • 3.2.5 British Empiricism and Associationism: John Locke, David Hume and John Stuart Mill
    • 3.2.5.1 John Locke
    • 3.2.5.2 David Hume
    • 3.2.5.3 John Stuart Mill
    • 3.2.6 Continental Philosophical Psychology: Immanuel Kant
    • 3.2.7 From the eighteenth century to the twentieth century
    • 3.2.7.1 The eighteenth century
    • 3.2.7.2 Romantic era
    • 3.2.7.3 The Victorian era
    • 3.2.7.4 The twentieth century
    • 3.2.8 The post-modern era
    • 3.2.8.1 The burden of self-hood
    • 3.2.8.2 The loss of authority and meaning
    • 3.2.8.3 The global village and its icons
    • 3.2.8.4 Mediated relatedness and the connected self
    • 3.2.8.5 The protean self
    • 3.2.9 Summary of the historical overview of the self
    • 3.3 Epistemological stances towards the self: From James to Rogers
    • 3.3.1 Self divided into “me” and “I”: William James
    • 3.3.2 Self sees itself in others: symbolic interactionism: Cooley and Mead
    • 3.3.2.1 Cooley
    • 3.3.2.2 Mead
    • 3.3.3 Self longs for group acceptance: Sherif and Sherif, and Goffman
    • 3.3.3.1 Sherif and Sherif
    • 3.3.3.2 Goffman
    • 3.3.4 Self comprises conscious and unconscious elements: Freud, Jung and Erikson
    • 3.3.4.1 Freud
    • 3.3.4.2 Jung
    • 3.3.4.3 Erikson
    • 3.3.5 Self is a process and is shaped by process: Existentialists: Laing
    • 3.3.5.1 Orientation
    • 3.3.5.2 Laing
    • 3.3.6 Self may be conditioned: Behaviourists: Skinner and Bandura
    • 3.3.6.1 Orientation
    • 3.3.6.2 Skinner
    • 3.3.6.3 Bandura
    • 3.3.7 Self has stable characteristics: Trait theorists: Allport and Cattell
    • 3.3.7.1 Orientation
    • 3.3.7.2 Allport
    • 3.3.7.3 Cattell
    • 3.3.8 Self strives to actualise itself: Maslow
    • 3.3.9 Self attaches personal meaning to experiences: Phenomenology: Rogers
    • 3.3.9.1 Orientation
    • 3.3.9.2 Rogers
    • 3.3.9.3 Rogers’ personality propositions
    • 3.3.10 Summary of the epistemological self stances
    • 3.4 “Self”-research in the second half of the 20th century
    • 3.5 A closer look at the postmodern self
    • 3.5.1 Introductory remarks
    • 3.5.2 Specific “self” perspectives
    • 3.5.2.1 Complicated familiarity
    • 3.5.2.2 Self as a system
    • 3.5.2.3 Attention, cognition and regulation
    • 3.5.2.4 The executive function, ego-depletion and reflexive consciousness
    • 3.5.2.5 The possible self
    • 3.5.2.6 The negative self
    • 3.5.2.7 The kaleidoscopic self
    • 3.5.3 Self as a social force
    • 3.5.4 Culture and the gendered self
    • 3.5.5 The individual self and its need for social discovery
    • 3.5.6 The interpersonal self and its relations
    • 3.5.6.1 Self needs others but complicates communication
    • 3.5.6.2 Self is transformed by close relationships with others
    • 3.5.6.3 Comfort and discomfort within the self
    • 3.5.7 Self and social perception
    • 3.6 Self-concept
    • 3.6.1 Definitional confusion
    • 3.6.2 A selection of self-concept perspectives of the past 25 years
    • 3.6.2.1 The self-concept secures inner consistency
    • 3.6.2.2 The self-concept is a description of the perceived self
    • 3.6.2.3 The self-concept is both a structure and a process
    • 3.6.2.4 The self-concept is multidimensional
    • 3.6.2.5 The self-concept has domains with content
    • 3.6.2.6 The self-concept can be enhanced with strategies
    • 3.6.2.7 The self-concept is shaped by the psychological group: self-categorisation theory
    • 3.6.2.8 The self-concept and its assessment
    • 3.6.2.9 The self-concept indicates status
    • 3.6.3 Developing a self-concept
    • 3.6.3.1 Suggested stages of self-perception development
    • 3.6.3.2 Others shape the self-concept
    • 3.6.3.3 The influence of friends and groups on the adolescent self-concept
    • 3.6.3.4 Academic competencies could enhance the self-concept
    • 3.6.4 Self-concept stability, variability and change
    • 3.6.5 Self-concept categories, domains, dimensions and facets
    • 3.6.5.1 A discussion of the major domain and facet differences and similarities in table
    • 3.6.6 A summary of the self-concept
    • 3.7 Self-esteem
    • 3.7.1 Introductory remarks
    • 3.7.2 Self-esteem stances of the past 10 years
    • 3.7.2.1 Orientation
    • 3.7.2.2 Self-esteem and belongingness
    • 3.7.2.3 Characteristics of an unstable self-esteem
    • 3.7.2.4 Self-esteem indicates self-concept evaluation
    • 3.7.2.5 The unhealthy pursuit of self-esteem
    • 3.7.2.6 Differences in high and low self-esteem
    • 3.7.2.7 Group settings improve self-esteem
    • 3.7.2.8 Implicit and explicit self-esteem
    • 3.7.2.9 Self-esteem and ethnic identity
    • 3.8 Identity
    • 3.8.1 Identity stances since
    • 3.8.1.1 Structural stages, sociocultural, narrative and psychosocial perspectives
    • 3.8.1.2 Identity crisis and identity status
    • 3.8.1.3 Identity styles
    • 3.8.1.4 Collective identity, social identity and group identification
    • 3.8.1.5 Gender differences and identity experiences
    • 3.8.1.6 Intrinsic motivation and identity formation
    • 3.8.1.7 Identity management and facework
    • 3.8.1.8 Identity summary
    • 3.9 Adolescence and the adolescent self
    • 3.9.1 Increased self-consciousness and first encounters
    • 3.9.2 Developmental goals
    • 3.9.3 Social roles and the creation of multiple selves
    • 3.9.4 Conflict-resolution and problem-solving benefit the adolescent self-concept
    • 3.9.5 The adolescent and the work place
    • 3.9.6 Adolescents and significant others
    • 3.9.6.1 The interplay of parents, peers and gender on adolescent emotional stability
    • 3.9.6.2 Family support and adolescent stress levels
    • 3.9.6.3 Parenting processes, self-esteem and dating violence
    • 3.9.6.4 The value of adolescent friendships and the role of self-esteem
    • 3.9.7 Self-esteem and body modification
    • 3.9.8 Positive and negative self-concepts and delinquency
    • 3.9.9 Adolescent smoking and the need for appropriate restrictions
    • 3.9.10 The value of a positive adolescent self-concept
    • 3.9.11 Parental involvement, behavioural conduct and social acceptance
    • 3.9.12 Summary of issues pertaining to adolescence and the adolescent self
    • 3.10 Literature issues to consider for data analysis
    • 3.11 Critical reflection
    • 3.11.1 Introduction
    • 3.11.2 The self-concept
    • 3.11.3 Self-esteem
    • 3.11.4 Identity
    • 3.11.5 Concluding reflective comment
    • 4 Conceptual orientation, research design and methodology
    • 4.1 Introduction
    • 4.1.1 Video therapy and combined arts therapies
    • 4.1.2 Arts therapies in the South African context
    • 4.1.3 Video and computer simulation
    • 4.1.4 Video in a classroom or group context
    • 4.1.5 Paltalk and telephone counselling
    • 4.1.6 The arts and life skills
    • 4.1.7 Arts-based research and the self-concept
    • 4.1.8 The nature of the literature gaps identified
    • 4.2 Conceptual frameworks and theories
    • 4.2.1 Theory of the self-concept
    • 4.2.2 Arts-based elements and characteristics
    • 4.2.3 Narrative counselling techniques and aims
    • 4.2.4 Group counselling principles
    • 4.2.5 Comprehensive school counselling programmes and spirituality
    • 4.2.5.1 South African context and the Life Orientation curriculum
    • 4.2.5.2 Diversity
    • 4.2.6 Positive psychology
    • 4.3 Philosophical assumptions
    • 4.4 Research strategy
    • 4.4.1 Mode of inquiry
    • 4.4.2 Style of educational research
    • 4.4.2.1 Case study
    • 4.4.3 Qualitative techniques
    • 4.4.3.1 Video techniques
    • 4.4.3.2 Photographic techniques
    • 4.4.3.3 Artworks and supplementary techniques
    • 4.4.3.4 Audio techniques
    • 4.4.3.5 Personal and written documents
    • 4.4.3.6 In-depth and focused interviews
    • 4.4.3.7 Group interviews vs. focus group interview (FGI)
    • 4.4.3.8 Participant observation
    • 4.4.4 Role of the researcher
    • 4.5 Data gathering and analysis procedures
    • 4.6 Delimiters and limitations of the study
    • 4.7 Conclusion
    • 1 5.10.2 A Summary of the individual participants’ dominant self-concept domains affected
    • 5 Data Analysis
    • 5.1 Introduction
    • 5.2 Major role players and orientation
    • 5.2.1 The teachers
    • 5.2.2 The observers and interviewers
    • 5.2.3 The classes (A and B) and the participants
    • 5.2.4 Background on the pupils
    • 5.2.5 Personal experiences and frustrations as a teacher-researcher
    • 5.2.6 Overview of the class process
    • 5.3 Data analysis methodology orientation
    • 5.4 Spontaneous data analysis with images
    • 5.5 Interview one: orientation and a selection of questions
    • 5.5.1 Introducing the participants: interview one data presentation
    • 5.5.1.1 Abigail: interview one (participant A)
    • 5.5.1.2 Celeste: interview one (participant B)
    • 5.5.1.3 Cheryl: interview one (participant C)
    • 5.5.1.4 Colleen interview one (participant D)
    • 5.5.1.5 Leigh: interview one (participant H)
    • 5.5.1.6 Miranda: interview one (participant J)
    • 5.5.1.7 Thelma: interview one (participant L)
    • 5.5.1.8 Tricia: interview one (participant M)
    • 5.5.1.9 Wanda: interview one (participant N)
    • 5.5.1.10 Gareth: interview one (participant E)
    • 5.5.1.11 Jack: interview one (participant F)
    • 5.5.1.12 Klaus: interview one (participant G)
    • 5.5.1.13 Marcus: interview one (participant I)
    • 5.5.1.14 Peter-John: interview one (participant K)
    • 5.5.2 Orientation regarding the data analysis (gender) table presentation
    • 5.5.3 Interview one data analysis results
    • 5.5.3.1 Discussion of the data analysis findings of interview one
    • 5.5.3.2 Relevant links with literature
    • 5.6 Interview two: orientation and a selection of questions
    • 5.6.1 Interview two data presentation
    • 5.6.1.1 Abigail: interview two (participant A)
    • 5.6.1.2 Celeste: interview two (participant B)
    • 5.6.1.3 Cheryl: interview two (participant C)
    • 5.6.1.4 Colleen: interview two (participant D)
    • 5.6.1.5 Leigh: interview two (participant H)
    • 5.6.1.6 Miranda: interview two (participant J)
    • 5.6.1.7 Thelma: interview two (participant L)
    • 5.6.1.8 Tricia: interview two (participant M)
    • 5.6.1.9 Wanda: interview two (participant N)
    • 5.6.1.10 Gareth: interview two (participant E)
    • 5.6.1.11 Jack: interview two (participant F)
    • 5.6.1.12 Klaus: interview two (participant A)
    • 5.6.1.13 Marcus: interview two (participant I)
    • 5.6.1.14 Peter-John: interview two (participant K)
    • 5.6.2 Interview two data analysis results
    • 5.6.2.1 Discussion of the data analysis findings of interview two
    • 5.6.2.2 Relevant links with literature
    • 5.7 Interview three: orientation and a selection of questions
    • 5.7.1 Interview three data presentation
    • 5.7.1.1 Abigail: interview three (participant A)
    • 5.7.1.2 Celeste: interview three (participant B)
    • 5.7.1.3 Cheryl: interview three (participant C)
    • 5.7.1.4 Colleen: interview three (participant D)
    • 5.7.1.5 Leigh: interview three (participant H)
    • 5.7.1.6 Miranda: interview three (participant J)
    • 5.7.1.7 Thelma: interview three (participant L)
    • 5.7.1.8 Tricia: interview three (participant M)
    • 5.7.1.9 Wanda: interview three (participant N)
    • 5.7.1.10 Gareth: interview three (participant E)
    • 5.7.1.11 Jack: interview three (participant F)
    • 5.7.1.12 Klaus: interview three (participant A)
    • 5.7.1.13 Marcus: interview three (participant I)
    • 5.7.1.14 Peter-John: interview three (participant K)
    • 5.7.2 Interview three data analysis results
    • 5.7.2.1 Data analysis discussion for interview three
    • 5.7.2.2 Links with literature
    • 5.8 Interview four: orientation and a selection of questions
    • 5.8.1 Interview four data presentation
    • 5.8.1.1 Abigail: interview four (participant A)
    • 5.8.1.2 Celeste: interview four (participant B)
    • 5.8.1.3 Cheryl: interview four (participant C)
    • 5.8.1.4 Colleen: interview four (participant D)
    • 5.8.1.5 Leigh: interview four (participant H)
    • 5.8.1.6 Miranda: interview four (participant J)
    • 5.8.1.7 Thelma: interview four (L)
    • 5.8.1.8 Tricia: interview four (participant A)
    • 5.8.1.9 Wanda: interview four (participant N)
    • 5.8.1.10 Gareth: interview four (participant E)
    • 5.8.1.11 Jack: interview four (participant F)
    • 5.8.1.12 Klaus: interview four (participant G)
    • 5.8.1.13 Marcus: interview four (participant I)
    • 5.8.1.14 Peter-John: interview four (participant K)
    • 5.8.2 Interview four data analysis results
    • 5.8.2.1 Discussion of the findings of interview four
    • 5.8.2.2 Links with literature
    • 5.9 An overview of the collective self-concept domain changes
    • 5.10 A return to the spontaneous image-based approach – the cumulative portrait
    • 5.10.1 Orientation: how to read the concluding cumulative image-based portrait
    • 5.10.1.1 Abigail’s concluding cumulative portrait (participant A)
    • 5.10.1.2 Celeste’s concluding cumulative portrait (participant B)
    • 5.10.1.3 Cheryl’s concluding cumulative portrait (participant C)
    • 5.10.1.4 Colleen’s concluding cumulative portrait (participant D)
    • 5.10.1.5 Leigh’s concluding cumulative portrait (participant H)
    • 5.10.1.6 Miranda’s concluding cumulative portrait (participant J)
    • 5.10.1.7 Thelma’s concluding cumulative portrait (participant L)
    • 5.10.1.8 Tricia’s concluding cumulative portrait (participant M)
    • 5.10.1.9 Wanda’s concluding cumulative portrait (participant N)
    • 5.10.1.10 Gareth’s concluding cumulative portrait (participant E)
    • 5.10.1.11 Jack’s concluding cumulative portrait (participant F)
    • 5.10.1.12 Klaus’s concluding cumulative portrait (participant G)
    • 5.10.1.13 Marcus’s concluding cumulative portrait (participant I)
    • 5.10.1.14 Peter-John’s concluding cumulative portrait (participant K)
    • 5.10.2 A summary of the individual participants’ dominant self-concept domains affected
    • 5.11 A summary of the data analysis procedures
    • 5.12 A synopsis of the salient data analysis aspects
    • 5.13 A summary of the literature links pertaining to the data analysis findings
    • 5.14 Role players’ and teacher-researcher’s comments and perceptions
    • 5.14.1 The teachers
    • 5.14.2 The observers (and interviewers)
    • 5.14.3 Classes: A and B – group interviews
    • 5.14.4 Compiling the video
    • 5.14.5 Video screenings
    • 5.14.5.1 Class A edited video screening
    • 5.14.5.2 Class B edited video screening
    • 5.14.5.3 Video screening for the parents
    • 5.14.6 Final teacher-researcher comments about the bigger picture and its role players
    • 5.15 Final reflective comment (linked to the data analysis)
    • 6 Conclusions and Recommendations
    • 6.1 Introduction
    • 6.2 Overview of this study
    • 6.2.1 Chapter
    • 6.2.2 Chapter
    • 6.2.3 Chapter
    • 6.2.4 Chapter
    • 6.2.5 Chapter
    • 6.2.6 Chapter
    • 6.3 Limitations of this study
    • 6.4 Ethical aspects
    • 6.5 Summary of findings
    • 6.6 Answering the research questions
    • 6.7 Possible contributions
    • 6.8 Recommendations
    • 6.8.1 Recommendations for Life Orientation teaching practice
    • 6.8.2 Recommendations for research
    • 6.9 Concluding comments
    • References
    • ADDENDA

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