TDU Talk
ISSUE 8 ▪ OCTOBER 2010
TEACHING PORTFOLIOS
Developing a Teaching Portfolio for a Teaching Award
Developing a Teaching Portfolio for a Job Application or
Promotion Purposes
Compiling a Portfolio for Professional Development
Compiling a Teaching Portfolio as an Emotional Journey
Dorothy Spiller, Senior Lecturer, Teaching Development Unit
“
Welcome to this edition of TDU Talk. In this issue we
discuss teaching portfolios and look at how they can be
used in different ways in your teaching career. We outline some
of the main uses for a teaching portfolio, their formative and
summative benefits and offer strategies and guidelines for their
development. The intended audience and purposes of the
teaching portfolio will influence the style, content and selection of
portfolio evidence. In this edition we will discuss three different
purposes for which portfolios can be used and how these goals may influence the
portfolio you create. These three purposes are developing a portfolio for a
teaching award, compiling a portfolio for career advancement or as part of a job
application and developing and maintaining a portfolio for one‟s own professional
development purposes. While there is obvious overlap between these kinds of
teaching portfolios and many items will be interchangeable, there may be a
difference in style and emphasis.
In this magazine we consider the different kinds of teaching portfolios and offer
guidelines to enhance their quality and their usefulness. You may of course decide
to compile a multi-purpose portfolio and just edit and amend it according to your
purposes and context. In addition to the outline of requirements, guidelines and
strategies, I also include some extracts from an article that I wrote in collaboration
with my Waikato Management School colleague, Mary Fitzpatrick, on the
emotions that may be generated when compiling a teaching portfolio. The
teaching portfolio for professional development, in particular, is a kind of
stocktaking exercise of one‟s journey as a teacher and it can be unsettling, even
though beneficial, to engage with this process.
ā
We hope that this edition will encourage you to start documenting everyday
aspects of your teaching so that you have the evidence both to create a public
record of your teaching achievements and to produce a valuable tool for your
ongoing professional development.
Best wishes
Dorothy & the TDU Team (Pip, Trudy, Shant & Preetha)
OCTOBER 2010 • TDU TALK
•2•
Dorothy Spiller, Senior Lecturer, Teaching Development Unit
As most people will know, the University of Waikato now offers teaching
excellence awards at the Faculty and University level. The University
award winners are selected from the Faculty level winners and the
nominees for the national awards are chosen from the University award
winners.
We hope that the initiation of a teaching awards system across all the
faculties will contribute to the development of faculty cultures that value
and celebrate teaching. It is also the long-term hope that teaching award
winners from different faculties will become spokespeople for teaching and
act as change agents within their own areas.
In order to simplify the process for award nominees at all levels, nominated
teachers are required to compile a portfolio using the criteria and format
required by Ako Aotearoa at the national level. This means that people
eventually chosen to compete for a national award will already have a welldeveloped portfolio that only needs to be refined and polished for
competing at the national level.
The criteria for a portfolio for a teaching award
The general and specific criteria for portfolio for a teaching award follow
those specified by Ako Aotearoa (see http://akoaotearoa.ac.nz/akoaotearoa/ako-aotearoa/resources/pages/tertiary-teaching-excellenceawards):
Criteria
The following section provides information on the criteria to be used in assessing the
portfolios. All nominees must demonstrate how they meet these criteria and the
information must state whether the nomination has been made under the new kaupapa
Māori criteria. The same criteria apply to teams of teachers, i.e. the team as a whole
must meet all of the criteria.
GENERAL CRITERIA
In making its decisions, the Committee will be looking for evidence of the nominee’s
sustained excellence in teaching/facilitating learning appropriate to the students. The
Committee will also be looking for evidence of sustained commitment and development
in the nominee’s practice as well as demonstrating how they have acted as leaders in
their field, with colleagues or in the wider context of education.
OCTOBER 2010 • TDU TALK
•3•
Nominees must make clear that they have practised and developed their skills,
predominantly in New Zealand, over a minimum period of six (6) years.
Overall the Committee will be looking for evidence that the nominee:
 is student-centred and has maintained over a significant time-frame, teaching
practices which engage students and promote effective learning appropriate to the
subject level and the background of the students;
 is proactive in his/her professional development as a teaching practitioner; and
 has had a positive influence on the teaching practice and/or the professional
development of colleagues with respect to teaching and learning – either within his/
her organisation or more widely.
In demonstrating teaching excellence the nominee’s portfolio should address:
Design for learning
The nominee has a track record of successful course and/or programme design,
including:
 design for the assessment of student learning;
 learning outcomes relevant to student and/or stakeholder needs;
 teaching and learning strategies consistent with the learning outcomes being taught;
 acknowledgement of the diversity of students from different backgrounds and with
different needs; and
 encouragement of student autonomy and acknowledgement of the experience of the
student .
Support should include systematic evidence from appropriately informed colleagues and/
or other stakeholders.
Facilitating learning
The nominee has a track record of successful teaching or facilitation of learning
appropriate to his/her context (e.g. type of TEO; small group/large group/face to face/online/ distance/ work based):
 is enthusiastic for subject and for learning;
 teaching and learning strategies are appropriate to context and actively engage
students; and
 students are supported to build confidence and capability.
Systematic evidence from students and from colleagues with experience of the
nominee’s teaching practice should be included. Individual citations from students should
be referenced by the course title and the year of study.
Assessing student learning
The nominee has a successful track record in assessing student development, progress
and achievement against expected learning outcomes:
 formative assessment strategies are used to build student capability and confidence;
and
 summative assessment strategies are appropriate for the learning outcomes and the
teaching and learning context.
•4•
OCTOBER 2010 • TDU TALK
Support should include systematic evidence from students and colleagues. Individual
citations from students should be referenced by the course title and the year of study.
Evaluating learning and teaching
The nominee consistently applies sound methodologies to evaluating his/her
effectiveness as a teaching practitioner:
 student feedback is obtained and reflected on;
 colleague feedback is obtained and reflected on; and
 stakeholder/employer feedback (where appropriate) is obtained and reflected on.
Evidence should include systematic summaries of feedback about teaching and courses
over the period covered by the application.
Professional development and leadership
The nominee shows ongoing commitment to his/her own learning, and has been
proactive in contributing to the development of effective teaching practice and/or the
development of colleagues – either within his/her organisation or in a wider context:
 currency has been maintained in terms of both subject area/discipline and in teaching
practice; and
 teaching methods and ideas are shared with colleagues either internally or externally,
with evidence of positive impact on their practice.
The nominee’s portfolio will describe concisely his/her practice as related to the above
criteria and will contain reflections on his/her effectiveness with regard to each criterion,
drawing specifically on the evidence available and referenced in the portfolio.
Systematic summaries of student and peer feedback must be included and up to 6
references from students, peers and/or employers or other relevant parties. Individual
citations from students should be referenced by the course title and the year of study.
CONTRIBUTION IN A KAUPAPA MĀORI CONTEXT
This new set of criteria are complementary and recognise the key areas of tertiary
teaching excellence outlined in the existing criteria in a Kaupapa Māori tertiary teaching
context.
Nominees must make clear that they have practised and developed their skills,
predominantly in New Zealand, over a minimum period of six (6) years.
Mana - Leadership and Professional Development
Rangatiratanga - leadership
Includes one or more of the following but open to other unique contributions:
 Evident qualities include dedication and commitment to some or all of following
kaupapa Māori advancement, mātauranga Māori perspectives and world views,
tikanga and te reo Māori;
 Demonstrates leadership and is innovative and/or creative;
 Team integrity is evident in success;
OCTOBER 2010 • TDU TALK
•5•
 Strategic development of teaching pathways;
 Contribution to teaching makes a significant contribution to the wider context of
Māori progress in terms of whānau, hapū, iwi and the wider Māori community, and
the development of the Māori communities formed by teachers and learners.
Kaupapa Māori – Māori concepts
Includes one or more of the following but open to other unique contributions:
 Demonstrates use of and commitment to Māori teaching and learning frameworks;
 Demonstrates strong links between the use of Māori teaching and learning
frameworks and ākonga, whānau, hapū, iwi and Māori development;
 Shows evidence of advancing kaupapa Māori based teaching either by the use of own
research or by considering the research of others.
Mātauranga Māori – Māori knowledge
Includes one or more of the following but open to other unique contributions:
 Promotes mātauranga Māori to the sector;
 Promotes discussion and use of Māori teaching and learning frameworks;
 Contributes to the discussion of Māori teaching and learning frameworks.
Ūkaipōtanga - Loyalty
Includes the following but open to other unique contributions:
 Committed to the kaupapa of the organisation they represent.
Whanaungatanga – Relationships
Includes one or more of the following but open to other unique contributions:
 Demonstrates ability to form good relationships with teachers and learners;
 Supportive of team members and students.
Kaitiakitanga – Guardianship/sustainability
Includes one or more of the following but open to other unique contributions:
 Sources of knowledge acknowledged and respected;
 Contributes to future development of programme/discipline;
 Has created new knowledge.
Whakaakoranga – Teaching Excellence - Design for Learning, Facilitating Learning
Kairangi - Excellence
Includes one or more of the following but open to other unique contributions:
 Excellence focussed, excellence encouraged;
 Achievement in higher learning encouraged;
 Demonstrates commitment and openness to excellence.
Pūkengatanga - Skills
Includes one or more of the following but open to other unique contributions:
 Highly skilled, experienced, qualified;
 All publications express pūkengatanga;
 Pūkengatanga of team members is valued;
 Blending of learning, research and practice;
•6•
OCTOBER 2010 • TDU TALK
 Can communicate in te reo and/or has some knowledge of te reo in their subject area;
 Cross-disciplinary expertise is evident.
Manaakitanga – Concern for colleagues and learners
Includes one or more of the following but open to other unique contributions:
 High level of concern for and commitment to students;
 Teaching environment is mana-enhancing;
 Problems are resolved with generosity;
 Learning environment comfortable & healthy;
 Generous in sharing skills and knowledge with others;
 Creates a teaching environment that is focussed on conduciveness to learning;
 Spiritual needs of students and colleagues respected;
 Cross-disciplinary approaches are encouraged.
Kotahitanga – Collaboration
Includes one or more of the following but open to other unique contributions:
 Is inclusive & shares information;
 Is focussed on the common good in work activities;
 Has a sense of place and orientation.
Mātaki – Assessing Student Learning, Evaluation of Learning and Teaching
Ākonga - Learners
Includes one or more of the following but open to other unique contributions:
 The nominee has a successful track record in assessing student development,
progress and achievement;
 Assessment strategies build student capability and confidence;
 Assessment strategies are appropriate for the learning outcomes and the teaching
and learning context.
Kaiako - Teaching
Includes one or more of the following but open to other unique contributions:
 Uses sound methodologies to evaluate effectiveness as a teacher;
 Student and/or community feedback is encouraged, obtained and reflected on
 Colleague feedback is obtained and reflected on;
 Stakeholder/employer feedback (where appropriate) is obtained and reflected on.
Taunaki - Evidence
Includes one or more of the following but is open to other unique contributions:
 Teaching methodology is based on sound research/data;
 Shows evidence of use of latest research within current teaching practice;
 Supports use of frameworks with robust evidence particularly around outcomes for
learners.
The nominee’s portfolio will describe concisely his/her practice as related to the above
criteria and will contain reflections on his/her effectiveness with regard to each criterion,
drawing specifically on the evidence available and referenced in the portfolio.
Systematic summaries of student and peer feedback must be included and up to 6
references from students, peers and/or employers or other relevant parties. Individual
citations from students should be referenced by the course title and the year of study.
OCTOBER 2010 • TDU TALK
•7•
Key messages
I suggest that all nominees document their teaching to align with these
basic categories, but within this format it is critical that you give your
portfolio your own personal stamp. There are a number of principles and
strategies that can help you to meet both the stated criteria and create a
portfolio that communicates your unique identity as a university teacher
and the experience of learning in your papers.
There are some key messages that need to be evident across the portfolio.
These include:
Who am I as a teacher and what is the vision that informs all aspects of
my teaching?
This is the equivalent of the thesis statement of your teaching portfolio as
this refers to the overriding principles and goals that inform the way you go
about your work as a teacher. This vision can include:





Personal values and beliefs
Conceptualisation of the optimum teaching and learning environment
Views of the relationship between teachers and learners
Understanding of learners and the learning process
Ideas about discipline specific and generic learning outcomes
It is important to communicate this underpinning framework at the
beginning of the portfolio and then demonstrate how the different
components of your practice are informed by it.
How do I actively engage in ways to inform my development as a
teacher?
Evaluators of award portfolios are interested to see evidence that the
teacher is actively engaged in continuous improvement of practice. It is
important to communicate how you collect systematic feedback in different
ways and from a range of sources and to show how you respond to
feedback to improve your practice. You should also be able to demonstrate
ongoing commitment to and engagement with professional development
opportunities both formal and informal.
There is increasing expectation that academics underpin their practice with
research-based scholarship, so if you read the higher education literature,
participate in education-related conferences, subject your practice to
research-based inquiry and publish research on teaching, all of these
activities should be documented. Portfolio evaluators are looking for
evidence that teaching is based on rigorous inquiry and not just intuition.
•8•
OCTOBER 2010 • TDU TALK
How do I design my teaching to foreground student learning?
One of the most consistent themes that should emerge from your portfolio
is the way in which your teacher thinking, planning and behaviours are
informed by the aspiration to create a high quality learning experience for
your students. Consider how the following elements demonstrate how you
plan and develop your teaching to promote student engagement and
meaningful learning:










Efforts to get to know the students and identify their prior learning
Designing papers and teaching and learning approaches that recognise
and accommodate student diversity
Teaching, learning and assessment practices that help to build
relationships with learners
Teaching, learning and assessment practices that are relevant to the
students‟ life experiences and future goals
Regular efforts to obtain feedback on the students‟ learning
Evidence of response to student feedback on their learning
Accessibility and availability to students
Teacher‟s language and terminology is appropriate for, or explained to
students
Evidence of assessment FOR learning
Feedback practices that guide students‟ learning are an integral part of
classroom learning and dialogue
What evidence can I show of my leadership activities in relation to
teaching and learning?
Portfolio evaluators are looking for evidence of teachers who have an
influence on teaching in their discipline community both within the
university and in other arenas. Some questions to consider include:






OCTOBER 2010 • TDU TALK
What departmental or faculty teaching-related activities do I participate
in?
What university forums about teaching do I contribute to?
In what ways do I share successes in my practice with discipline and
university colleagues?
What activities related to teaching outside the university do I
participate in?
What teaching-related conferences or publications do I contribute to?
Do I keep in touch with the way other educational providers teach my
discipline?
•9•
Communicating a persuasive message
A portfolio that is compiled for an award is a public document that needs to
be accessible and interesting to a range of readers. For the national awards,
the decisions made about our top tertiary teachers are entirely based on
what is communicated in the portfolio. In some instances, deserving
teachers have missed out on awards because of poorly presented portfolios.
Your goal is to create a living document which enables your reader to
visualize the kind of teacher that you are and how you work with your
students. Here are some things which make a difference:
Voice
Allow your voice (your unique identity) into the pages of the portfolio.
Allow the reader to experience your values, aspirations and emotions in
relation to teaching.
Incorporate other voices into the portfolio, especially the comments of your
students. Their views help to communicate the experience of being a
participant in your learning environment. Also invite the voices of your
peers, collaborators and outsiders who know you within a teaching context.
Telling a story
Try not to create a portfolio for an award that reads like a collection of
facts; create a story around your teaching experiences and enliven it with
mini-narratives. Use examples, illustrations and analogies to give colour
and vivacity to your narrative.
Support with evidence
The most powerful evidence is the feedback from your students. This may
come in many forms such as formal evaluations, in class comments,
unsolicited expressions of thanks. You may also include evidence of
student learning and engagement with an idea, a concept or a value that is
central to the learning you hope they will experience. Also, feedback from
students who are already in the workforce can be very affirming.
Use evidence from your research into your own teaching or from the
scholarship of others to support teaching approaches or innovations that
you have tried.
Visual impact
Plan the visual appearance of your portfolio to achieve maximum impact,
to capture reader attention and to support the narrative of your teaching and
the ideas that it promotes.
• 10 •
OCTOBER 2010 • TDU TALK
Dorothy Spiller, Senior Lecturer, Teaching Development Unit
A career portfolio is one of the requirements of the Postgraduate Certificate
in Tertiary Teaching. The categories are similar to those for the awards
portfolio but this portfolio is for use in job or promotion applications. Many
tertiary institutions now require a portfolio as part of the job application
process. This form of portfolio resembles a fleshed-out CV and
documentation of achievement rather than personal exploration of one‟s
teaching. It needs to be succinct and written in a style that is accessible to
people who may not be familiar with the higher education terminology. The
writing should be formal and concise, and the format simple and easily
readable.
While there is some variation as to what academics may include in this type
of portfolio, it should generally include the following components:
A statement of your teaching philosophy
Provide a succinct account of the core principles that govern your practice.
 Use the appropriate terminology, but make sure that you explain all
terms. Reference the higher education literature where appropriate.
Examples of your teaching and assessment practices
 Provide an overview of your current teaching responsibilities.
 Select examples of your teaching and assessment that you want to
comment on or link to your overall teaching values.
Examples of innovation in teaching or assessment.
 Explain the innovation, its purposes and what it achieved.
Feedback on and evaluation of teaching
 Include course evaluations, informal feedback from students, in class
feedback, examples of students‟ work, testimonials and peer feedback.
Examples of professional development
 Include TDU activities, individual consultations, teaching conferences,
departmental teaching activities and professional reading.
Contributions to the teaching of others
 Include informal or formal mentoring, teaching-related departmental
activities, teaching-related committees, resource sharing and teachingrelated conference presentations.
Teaching-related publications
 List publications on teaching in refereed journals.
• 11 •
OCTOBER 2010 • TDU TALK
Dorothy Spiller, Senior Lecturer, Teaching Development Unit
The primary purpose of this type of portfolio is to foster your ongoing
professional development. While the other two portfolios are more product
focused, this portfolio can be a more formative and process orientated
experience. It is a combination of documentation and a teaching diary. It
should be a place to explore your teacher thinking and practice, document
reflections, emotions, innovations, changes in perceptions and your
evolving sense of your learners and yourself as a teacher. The audience is
you and a chosen mentor or colleague with whom you can talk through
aspects of what you identify and discover in the process. Generally, the
process of compiling a portfolio for professional development is optimized
when it is accompanied by reflective conversations with a teaching
developer/mentor or colleague that you trust. Conversation often provides
the tools to respond richly to experiences or move forward from particular
places and try out different approaches.
The components of this portfolio are very similar to the other two and you
will often be using material from an ongoing professional development
portfolio to inform an awards or career portfolio.
However there are some important differences:
 This portfolio works best when it is open-ended, exploratory and
provisional.
 In this portfolio, you can explore in depth the influences that have
made you the teacher that you are such as your own learning
experiences, different teaching contexts, personal history and the
scholarship of teaching.
 You can write this portfolio in any style that you like and in your
personal voice.
 You can include all forms of feedback such as cards and emails or
student comments.
 To benefit from this portfolio process, you should jot down both
positive and negative experiences from your teaching and examine the
insights that they have provided you.
 You can include a diary element in which you jot down brief musings
after classes and assessments, such as student misunderstandings,
moments of illumination or problems with the clarity of an assessment.
It is important to capture these jottings as they happen, because much is
glossed over or lost with time. These jottings provide the starting point
for revisions in the next iteration of the course and the basis for
reflection, development and goal-setting for the future.
OCTOBER 2010 • TDU TALK
• 12 •
Dorothy Spiller, Senior Lecturer, Teaching Development Unit
Mary Fitzpatrick and I wrote an article on portfolios that was published in
Higher Education Research and Development, 29 (2), 2010. In this article,
we argue for the benefits of differentiating between portfolios written for
the public domain, such as for promotions and awards and a portfolio
written for one‟s professional growth. While we acknowledge that there is
considerable overlap between these portfolios, there is a strong argument
for preserving a portfolio which is a safe reflection and conversational
space and which will not be used for career advancement. The research
which eventually resulted in this publication was triggered by the strong
emotional response of some of the Postgraduate Certificate in Tertiary
Teaching participants when they had to write a multi-purpose portfolio.
Their reactions led us to examine the emotional dimensions of learning
about teaching and to look for ways of helping people to manage this
unsettling terrain. As an outcome of this research, course teachers split the
portfolio requirements for the Certificate into two portfolios, the Career
Portfolio and the Personal Portfolio. More generally, the research findings
have heightened our sense of the emotional dimension of exploring one‟s
teaching and we believe that it is useful for all teachers to be aware of this.
We include some sections of the article to illuminate these comments.
The literature underpinning our study emphasized the centrality of emotion
in both the teaching and learning processes. Compiling a portfolio often
prompts transformative learning opportunities about our teaching which is
in itself has a strong emotional component.
The emotions of teaching are…not just a sentimental adornment to
the more fundamental parts of the [ teaching] work. They are
fundamental in and of themselves. They are deeply intertwined
with the purposes of teaching, the political dynamics of
educational policy and school life, the relationships that make up
teaching, and the senses of self which teachers invest in their work.
(Hargreaves, 1998, p.30)
The article notes that:
After 20 years of serious academic work and increasing empirical research,
there is now a growing body of work that supports the fundamental
importance of emotions in teachers‟ personal lives, in their classroom
behavior and in the formation of their professional identity as teachers (eg.
Hargreaves, 1994, 1998; Palmer, 1998; Pelias,2004; Zembylas, 2003).
Kelchtermans (2005)
• 13 •
OCTOBER 2010 • TDU TALK
The article then considers the complicated relationship between emotions
and learning:
Corresponding to the interdependence of emotions and teaching, there is
also a complex interface between emotions and learning. The literature on
the dynamic interplay of emotions and learning is also relevant to this
research context, where the tertiary teachers are learners, committed to a
better understanding of themselves in their role as teachers. Of special
interest is the work that locates emotions at the centre of our subjective
sense-making, establishing emotions as an integral part of learning itself.
Emotions are fundamental to our construction of ourselves and our
relationships with others and the world (Day & Leitch, 2001; van den Berg,
2002). When emotions are intense, they create what Geijsel and Meijers
(2005) describe as a „strong commotion of mind” (p. 424) that disturbs our
thinking and therefore disrupts our learning in general.
Within this broader recognition of the centrality of emotions in both the
teaching and learning process, the article considers the emotions that can
be generated in the process of compiling a teaching portfolio:
In this research we focus on the emotions experienced by tertiary teachers
compiling a teaching portfolio as a professional development activity.
Hargreaves (1998), emphasizing the emotionality inherent in teacher
development, explains that teachers are putting their professional identity at
risk when they learn new ways of becoming better teachers. Successful
teacher development inevitably challenges the individual teacher‟s sense of
self and the assumptions underlying their teaching practice. Therefore,
successful professional development also involves experiences of
disturbance or “existential insecurity” and vulnerability, accompanied by
such emotions such as fear, anxiety, guilt and shame, as the teacher
confronts the risks and, later by the emotional rush that comes with triumph
(Dads,1993; Day & Leitch, 2001; Hargreaves, 1998; Sachs, 1997).
The findings of our study showed participants’ reactions to the experience
of compiling a teaching portfolio were mixed but there were some
recurrent themes:
These related themes can be broadly categorized as uncertainty generated
by the multiple purposes of this portfolio task and emotional destabilization
experienced in the process of taking stock of oneself as a teacher.
Generally, the period of emotion accompanying “strong commotion of
mind” (Geisel & Meijers, 2005, p.425) culminated in a sense of
reaffirmation of the self as a teacher.…… As Kelchtermans (2005) argues,
the presence of intense emotions signals that something of vital importance
is at stake; in this instance it appears to be about traversing the jagged and
uneven terrain towards self-knowledge and growth as a teacher.
OCTOBER 2010 • TDU TALK
• 14 •
However, this „commotion of mind‟ is what may be needed to move
teachers from established practice to implementation of improved practice.
Lewin‟s „unfreeze, remould, refreeze‟ metaphor covers this process
(attributed to Lewin in Kent, 2001). Teachers who wish to change their
practice, or are confronted by an urgent need to change it, experience
„unfreezing‟ when they have to let go of established ways of teaching. The
emotion referred to in the paper described above happens in this phase. It
can also accompany the remoulding phase, as teachers implement changed
practice, write reflections in their portfolios about this process, and then
cement the new practice in, as the „refreezing‟ phase. While the entire
process aims to refresh and renew practice, reflecting on it can raise quite
unexpected emotional responses.
19-22 October 2010, Liverpool, UK
13-14 November 2010, Faculty of Education, University of
Waikato, Hamilton
http://www.crrp.ac.nz
17-19 November 2010, University of Waikato, Hamilton
www.nzethnographyconference.com
25-26 November 2010, University of Lincoln, Christchurch
http://www.lincoln.ac.nz/AHEEF-2010
Congratulations to Dr Eva Collins and Prof
Kate Kearins for their successful publication
in the Academy of Management Learning
and Education (v. 9, #3, September 2010, a
top ranked journal.
Their article Delivering on Sustainability's
Global and Local Orientation can be found
online at http://aomonline.org/alert.asp?
i=IZZU&m=73
18-21 April 2011, Stellenbosch, South Africa
www.postgraduate2011.co.za
• 15 •
OCTOBER 2010 • TDU TALK
Dadds, M. (1993). The feeling of thinking in professional self-study.
Educational Action Research, 1 (2), 287-303
Day, C. & Leitch, R. (2001), Teachers‟ and teacher educators‟ lives: The
role of emotion. Teaching and Teacher Education, 17 (4) 403-415
Fitzpatrick, M. & Spiller, D. (2010). The teaching portfolio: institutional
imperative or teacher‟s personal journey?, Higher Education
Research and Development, 29:2, 167-178
Geijsel, F., & Meijers, F. (2005). Identity learning: the core process of
educational change. Educational Studies, 31 (4), 419-430
Hargreaves, A. (1994). Changing teachers, changing times: Teachers’
work and culture in the Postmodern age. London: Cassell
Kent, R.H. (2001). Installing Change: an executive guide for implementing
and maintaining organizational change. Winnipeg: Pragma Press,
Inc., 2nd edition 2001 (pdf version), downloaded from http://
www.mansis.com/freeze.htm on 22/09/10
Kelchtermans, G. (2005). Teachers emotions in educational reforms. Selfunderstanding, Vulnerable commitment and micropolitical literacy.
Teaching and Teacher Education, 21 (8), 995-1006
Palmer, P.J. (1998). The Courage to teach. San Francisco: Jossey Bass
Pelias, R. J. (2004). A Methodology of the heart: Evoking academic and
daily life. Walnut Creek, CA: Alta Mira
Sachs, J. (1997). Reclaiming the agenda of teacher professionalism: An
Australian experience. Journal of Education for Teaching, 23 (3) 263
-275
Van den Berg, R. (2002). Teachers‟ meanings regarding educational
practice. Review of Educational Research, 72 (4), 577-625
Zembylas, M. (2003). Emotions and teacher identity: A post-structural
perspective. Teachers and Teaching, 9 (3), 213-239
OCTOBER 2010 • TDU TALK
• 16 •
October
Professional Development at a Glance
Make a space at your place for teaching
Some of the best learning happens through conversation and most of the working life of academics is focused around the
department. So why not make the occasional space for conversation about teaching in your department?
ĀHANGA