LITERATURE REVIEW

Overarching question: ‘How can teachers improve student engagement based in the

classroom?’

Subtopic: ‘How creative pedagogy effects student engagement in secondary education?’

Part A

Introduction

An area of focus and improvement for teachers could be ‘how can teachers improve student

engagement based in the classroom?’. For students to engage in classroom learning and to

expand their existing knowledge, teachers can discover and analyse key research studies. A

subtopic area involves ‘how creative pedagogy effects student engagement in secondary

education’. Studies based on creative pedagogy exposes an approach that which explores

various types of student engagement. These studies demonstrate applications and restrictions

of creative pedagogy in secondary education. Additionally, the research reveals salient

research themes and suggest an improvement in key teaching skills. Furthermore, these

themes can be applied to future this research.

Creative pedagogy

Creative pedagogy can be defined as integrating both key concepts of the arts and classroom

teaching and learning (Grant, Hutchinson, Hornsby, & Brooke, 2008). Furthermore, creative

pedagogy encourages student expression, originality (Das, Dewhurst, & Gray, 2011),

imagination and creative thinking (Cremin, 2015). Therefore, a valued purpose for creative

pedagogy is for teachers to increase creative thinking and expression in students (Lin, 2011).

Creativity in education is often disregarded and labelled unimportant (Selkrig & Keamy,

Alisha Rasmussen – 19059378 1

2017). A few believe that the practice of the arts and developing educational knowledge

conflict with one another (Hughes, 2014), however; Selkrig and Keamy (2017) note that “a

fundamental element in a creative pedagogy framework” is the creative learning process of

students. Furthermore, teachers who effectively teach creative pedagogy enhance the

“multiple intelligence” of students and demonstrate a value of independent thinking (Lin,

2011). Nevertheless, studies show student experiences at school condition students to

suppress imaginative thinking and are, therefore; unwilling to make “intellectual risks”

(Muirhead, 2011). Creative pedagogy is a “high-impact practice” (Bell, 2017), but can

additionally refine problem solving and complex-levelled thinking skills (Lin, 2011).

Furthermore, a teacher who emphasises a value for creative exploration and problem solving

develops students’ motivation, educational risk taking and student resilience (Das, Dewhurst,

& Gray, 2011). Thus, creative pedagogy is a powerful tool to engage students in the

classroom for personal and educational purposes. Jean Piaget himself states the main purpose

of education is to produce “men [students] who are creative, inventive and discoverers” (Tan,

2018). Literature also suggests that creativity lacks inspiration when education mainly

focuses on measuring creativity though school assessments (Cochrane, Antonczak, Keegan,

& Narayan, 2014). Cochrane, Antonczak, Keegan, and Narayan (2014) suggest an improved

approach to measuring creativity would be found in curriculum which is student-centred and

requires reflection and “collaborative learning”. Thus, creative pedagogy requires student

attention and involvement to increase practice effectiveness.

Engagement, salient themes and complications

Harris (2011) states teachers effect the engagement levels of students. Studies show students

whose families are of low socioeconomic backgrounds and students from minority groups are

Alisha Rasmussen – 19059378 2

more likely to experience educational disengagement (Harris, 2011). Furthermore,

behavioural and emotional engagement are two specific ways students engage in the

classroom (Uden, Ritzen, & Pieters, 2013). Behavioural engagement relates to student

participation, punctuality, and level of commitment to school assessments (Uden, Ritzen, &

Pieters, 2013). Emotional engagement relates to the levels of educational eagerness,

excitement to attend school and optimistic learning views (Uden, Ritzen, & Pieters, 2013). In

doing so, the teacher is responsible for influencing student education views (Harris, 2011).

This process commences when the teacher is aware of their personal views of student

engagement and create ways to accommodate this engagement (Harris, 2011).

Salient themes in creative pedagogy research involve: teacher and student creativity (Russell,

2015), expression (Das, Dewhurst, & Gray, 2011), student engagement (Uden, Ritzen, &

Pieters, 2013), student learning and achievement (Tan, 2018). Furthermore, trust is

imperative in secondary education and must be present between teacher and student to

increase student engagement. “Trust is a little like air—you don't think about it until it is

scarce or absent” (Hoy, 2016). Additionally, trust must be placed in research to discover key

themes and improvements for creative pedagogy. Furthermore, Tan’s (2018) definition of

creative thinking is a process of idea generation and expression. Therefore, highlighting the

key research themes in creative pedagogy. Lin (2011) identifies previously mentioned

research themes as three core components to ‘creative pedagogy’: “creative teaching,

teaching for creativity, and creative learning”. These three areas support and integrate among

one another, and thus; are a result of one another (Lin, 2011). Furthermore, Selkrig and

Keamy (2017) argue that teachers must know “how to teach creatively and for creativity”. A

teacher who applies this research will also implement academic optimism, which refers to a

school faculty who adheres to a shared confidence to create a positive impact on student

learning and inspire student success (Hoy, 2016). As this research demonstrates, creative

Alisha Rasmussen – 19059378 3

thinking, expression, student engagement and achievement are salient themes present

throughout creative pedagogy studies. Thus, these salient themes will inform further research

and allow room for specific study.

One main complication in assessing key applications for creative pedagogy is separating

student knowledge from teacher knowledge (Russell, 2015). This can seem impossible as the

teacher does not educate outside their own knowledge and would, therefore; reflect their

individual comprehension in classroom activities (Russell, 2015). Furthermore, positive

learning is a key concept of the arts. Studies show positive learning is deeply integrated in

creative pedagogy (Das, Dewhurst, & Gray, 2011). Although some studies suggest creative

thinking cannot be measured by standardised testing and assessment, other studies contradict

these statements. In fact, results show despite student socio-economic background, students

who engage in creative thinking score increased standardised accomplishments and

experience higher success rates compared to those who do not, or rarely, partake in creative

thinking (Tan, 2018).

Relating to overarching question

Studies based on creative pedagogy compliment ways in which students are involved in

classrooms. This relates to the main focus area of student engagement in secondary

education. Therefore, the studies and literature review from creative pedagogy relates directly

to the overarching research question of ‘how can teachers improve student engagement based

in the classroom?’. Additionally, the research is based on “teachers’ beliefs and intentions”

which impact student ways of engagement in the classroom (Uden, Ritzen, & Pieters, 2013).

The subtopic would stem off the overarching question as key themes of creativity, expression

and engaging students are researched. Furthermore, creative pedagogies provide various

Alisha Rasmussen – 19059378 4

research opportunities as the pedagogy is highly researched and controversial (Cochrane,

Antonczak, Keegan, & Narayan, 2014). Thus, the subtopic of research offers choice and

freedom to study teachers and students from diverse backgrounds (Muirhead, 2011).

Although creative pedagogy is based on values from the arts, the pedagogy is applicable to

various subjects offered in secondary education. For example, “voice, music [and] instrument

can be integrated into class content as a form of expression” and therefore; can be applied in

any subject (Das, Dewhurst, & Gray, 2011). Furthermore, creative pedagogy can affect

student engagement in numerous ways. This means the researcher is provided with a range of

possibilities to choose from and discovery can be original. The overarching research question

becomes a guide for the subtopic, and creative pedagogy can then be studied as a “theoretical

perspective” (Hoy, 2016).

Conclusion

In summary, if teachers integrate creative pedagogy into the classroom, teachers will

encourage student behavioural and emotional engagement in secondary education, and thus;

will assist students to reach their full potential.

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Part B

All information required for Part B can be found in the appendix.

Appendix 1 – Teacher information form (Western Sydney University, n.d.).

Appendix 2 – Teacher consent form (Western Sydney University, n.d.).

Appendix 3 – Student information form (Western Sydney University, n.d.).

Appendix 4 – Student consent form (Western Sydney University, n.d.).

Appendix 5 – Teacher Interview forms

Appendix 6 – Student Interview forms

Part C

When conducting research, the researcher must plan with care and consideration in order to

collect quality and reliable data. The researcher must have reasons for decisions, relate the

designed protocol to literature review and relate to an overall topic.

Designed protocol

In this conducted research, the protocol of interview is applied. An interview can be

conducted in various ways. Some ways include face-to-face, through technology (Skype,

messenger, phone etc.), in groups and even focus groups (Bolderston, 2012). Before the

research interviews are conducted, the researcher must provide the interviewee with an

information sheet, as well as a consent form (Arsel, 2017). Arsel (2017) states that a

researcher who provides consent forms before the interview conduction reduces “ethical

consequences”. Furthermore, this research information includes 1. information of research

Alisha Rasmussen – 19059378 6
(Appendix 1 and 3 – Information sheets), 2. details of participants involved (Appendix 5 and

6 – Interview Forms), 3. consent forms (Appendix 2 and 4 – Teacher and Student forms), and

4. varied interview questions (Appendix 5 and 6 – Interview Forms) (Bolderston, 2012). An

interview was chosen as the protocol requires a break down in coding and assessing salient

themes for further research (Arsel, 2017). The opening questions were chosen to increase

rapport between the interviewee and the interviewer (Arsel, 2017). The small talk gives the

researcher an insight into personal qualities and characteristics (Arsel, 20117). Although

mostly open-ended questions were used in the protocol, these questions are prompts to

discuss desired ideas by the researcher (Bolderston, 2012). Interviewers require certain skills

to draw out valuable information. For example, there are three main types of interviewees: 1.

Dominant talkers, 2. Shy talkers and 3. Ramblers (Bolderston, 2012). Each interviewee type

requires different approaches to keep the relevant discussion proceeding. Dominant talkers

require less eye contact and a refocus in discussion (Bolderston, 2012). Shy talkers require

subtle encouragement and ramblers less eye contact (Bolderston, 2012). In saying this, the

researcher must be aware to not seem uninterested but must seem focused on the relevance of

information. The interview protocol questions contain room for strong probing questions and

room for notable themes (Arsel, 2017).

Relating to literature review and overall topic

The interview protocol concentrates on two areas of focus, creative pedagogy and student

engagement. The interview questions were based on the previous creative pedagogy literature

review and explores the individual narratives of the participants (Arsel, 2017). The aim of the

interview is to deconstruct creative pedagogical and student engagement views from teachers

and students (Arsel, 2017). In doing so, the overall topic of improving student engagement

Alisha Rasmussen – 19059378 7

can be assessed and answered by the researcher applying previous understanding from the

literature review. In saying this, the interview relies on the literature review to guide the

interview to relevance and valued data by adapting the protocol to suite the research question

(Bolderston, 2012). Thus, the interview protocol is a creation caused by the integration of the

creative pedagogy literature review and the goal to answer the overarching research question.

Therefore, researchers who explore the possibilities of sub-topics create room to discover

improvements to achieve a successful educational future for teachers and students.

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 APA (6th Edition) Reference List

Arsel, Z. (2017). Asking Questions with Reflexive Focus: A Tutorial on Designing and

Conducting Interviews. Journal of Consumer Research, 44(4), 939-948.

doi:10.1093/jcr/ucx096

Bell, S. (2017). High Impact Creative Pedagogy Using a Maker Model of Composition. The

Journal of Faculty Development, 31(1), 19-24. Retrieved September 12, 2018, from

https://search-proquest-

com.ezproxy.uws.edu.au/docview/1907273757/fulltext/3781E535DEA84CF3PQ/1?ac

countid=36155

Bolderston, A. (2012). Conducting a Research Interview. Journal of Medical Imaging and

Radiation Sciences, 43(1), 66-76. doi:10.1016/j.jmir.2011.12.002

Cochrane, T., Antonczak, L., Keegan, H., & Narayan, V. (2014). Riding the wave of

BYOD: Developing a framework for creative pedagogies. Research in Learning

Technology, 22, 1-13. doi:10.3402/rlt.v22.24637

Cremin, T. (2015). Perspectives on creative pedagogy: exploring challenges, possibilities and

potential. Education 3-13. 43. 1-7. doi:10.1080/03004279.2015.1020632

Csikszentmihalyi (Jackson et al., 2006) put it this way to show the altered status of creativity:

“In the Renaissance creativity might have been a luxury for the few, but by now it is a

necessity for all”

Das, S., Dewhurst, Y., & Gray, D. (2011). A Teacher's Repertoire - Developing Creative

Pedagogies. International Journal of Education & the Arts, 12(15), 1-39. Retrieved

September 22, 2018, from

https://www.researchgate.net/publication/236859758_A_Teacher's_Repertoire_-

_Developing_Creative_Pedagogies

Alisha Rasmussen – 19059378 9

Grant, A., Hutchinson, K., Hornsby, D., & Brooke, S. (2008). Creative pedagogies: “Art-full”

reading and writing. La Trobe University Faculty of Educatio, 7(1), 57-72. Retrieved

September 23, 2018, from

http://education.waikato.ac.nz/research/files/etpc/2008v7n1art4.pdf

Harris, L. (2011). Secondary teachers’ conceptions of student engagement: Engagement in

learning or in schooling? Teaching and Teacher Education, 27(2), 376-386.

doi:10.1016/j.tate.2010.09.006

Hoy, W. (2016, August 30). Quantitative Research in Education: A Primer. SAGE

Publications, Inc., 23-44. doi:10.4135/9781452272061

Hughes, D. (2014, April 01). Dwelling as an approach to creative pedagogy. Art, Design &

Communication in Higher Education, 13(1), 73-87. doi:10.1386/adch.13.1.73_1

Lin, Y. (2011). Fostering Creativity through Education – A Conceptual Framework of

Creative Pedagogy. Creative Education, 02(03), 149-155. doi:10.4236/ce.2011.23021

Muirhead, B. (2011, April 15). Utilizing Creative Pedagogy. I-manager’s Journal on

Educational Psychology, 4(4), 1-10. doi:10.26634/jpsy.4.4.1414

Russell, F. (2015). Slave to the Rhythm: The Problem of Creative Pedagogy and the

Teaching of Creativity. Deleuze Studies, 9(3), 337-355. doi:10.3366/dls.2015.0191

Selkrig, M., & Keamy, (. K. (2017). Creative pedagogy: A case for teachers’ creative

learning being at the centre. Teaching Education, 28(3), 317-332.

doi:10.1080/10476210.2017.1296829

Tan, S. (2018). The use of Creative Pedagogies in enhancing learning in the

classroom. 1-12. Retrieved September 22, 2018, from

https://www.researchgate.net/publication/323511540

Alisha Rasmussen – 19059378 10

Uden, J. M., Ritzen, H., & Pieters, J. M. (2013). I think I can engage my students. Teachers

perceptions of student engagement and their beliefs about being a teacher. Teaching

and Teacher Education, 32, 43-54. doi:10.1016/j.tate.2013.01.004

Western Sydney University. (n.d.). Research Forms. Retrieved September 30, 2018, from

https://www.westernsydney.edu.au/research/forms

Witschey, J., Murphy-Hill, E., & Xiao, S. (2013). Conducting Interview Studies: Challenges,

Lessons Learned, and Open Questions. Department of Computer Science, 51-54.

Retrieved September 30, 2018, from https://ieeexplore-ieee-

org.ezproxy.uws.edu.au/stamp/stamp.jsp?tp=&arnumber=6618471

Alisha Rasmussen – 19059378 11

 Appendix 1 – Teacher information form

Teacher Information Sheet – Specific

Project Title: “How does creative pedagogy effect student engagement?”
Project Summary: An interview will be conducted between the interviewer and the
interviewee. Data analysation will commence, and data will be entered into a research
assessment which will be submitted to Western Sydney University by the researcher.
You are invited to participate in a research study being conducted by Alisha Rasmussen from
Western Sydney University. The research focuses on creative pedagogy and the effects this
practice may have on students in secondary education. An interview will be conducted
between the interviewer and the interviewee. The information collected will be coded,
analysed and entered into a research assessment which will be submitted to Western Sydney
University by the researcher.
How is the study being paid for?
This project is not funded and will only require time dedication from the interviewer and
interviewee.
What will I be asked to do?
You will be asked to answer interview questions provided by the researcher/interviewer.
How much of my time will I need to give?
Twenty-five (25) minutes will be dedicated to this project depending on interviewee
availability.
What benefits will I, and/or the broader community, receive for participating?
The research is conducted in hopes to gain a detailed insight of student engagement in
secondary education, and to discover new ways to increase student engagement.
Will the study involve any risk or discomfort for me? If so, what will be done to rectify
it?
At any time before, during or after the interview you feel uncomfortable, you can express this
discomfort with the interviewee or any participating bodies and the interview will conclude.
The interview may continue or completely conclude depending on your personal preference.
How do you intend to publish or disseminate the results?
It is anticipated that the results of this research project will be published and/or presented in a
variety of forums. In any publication and/or presentation, information will be provided in
such a way that the participant cannot be identified, except with your permission. All names
and personal information that relates to personal identities will be changed for confidentiality
reasons. If requested, the data submitted to Western Sydney University for assessment
purposes may be forwarded to you personally.
Will the data and information that I have provided be disposed of?

Alisha Rasmussen – 19059378 12

Please be assured that only the researchers will have access to the raw data you provide and
that your data will not be used in any other projects. Please note that minimum retention
period for data collection is five years post publication. The data and information you have
provided will be securely disposed of.
Can I withdraw from the study?
Participation is entirely voluntary, and you are not obliged to be involved. If you do
participate you can withdraw at any time by giving reason.
If you do choose to withdraw, any information that you have supplied will be used for data
purposes unless requested otherwise.
Can I tell other people about the study?
Yes, you can tell other people about the study by notifying the researcher to provide you with
relevant details.
What if I require further information?
Please contact Alisha Rasmussen on 19059378@westernsydney.edu.au should you wish to
discuss the research further before deciding whether or not to participate

Alisha Rasmussen – 19059378 13

 Appendix 2 – Teacher consent form

Teacher Consent Form – Specific

TEACHER 1A / 1B
Project Title: “How does creative pedagogy effect student engagement?”
I hereby consent to participate in the above-named research project.
I acknowledge that:
• I have read the participant information sheet (or where appropriate, have had it read to
me) and have been given the opportunity to discuss the information and my involvement in
the project with the researcher/s
• The procedures required for the project and the time involved have been explained to
me, and any questions I have about the project have been answered to my satisfaction.
I consent to:

☒ Participating in an interview

☒ Having the interview audio recorded for project use only

☒ Having my details recorded for project use only

☒ Having photographs or videos recorded for project use only

I consent for my data and information provided to be used for this project.
I understand that my involvement is confidential and that the information gained
during the study may be published but no information about me will be used in any way
that reveals my identity.
I understand that my participation in this study will have no effect on my relationship
with the researcher/s, and any organisations involved, now or in the future. I
understand that I will be unable to withdraw my data and information from this
project. Data cannot be withdrawn (unless approved) as the information provided will be
applied to an assessment which requires such data. In withdrawing this information, the
researcher cannot competently complete the assessment for the Researching, Teaching and
Learning 2 unit at Western Sydney University.
Signed:
Name:
Date:

Alisha Rasmussen – 19059378 14

 Appendix 3 – Student information form

Student Information Sheet – Parent/Carer

STUDENT 2A / 2B
Project Title: “How does creative pedagogy effect student engagement?”
Project Summary:
Your child is invited to participate in a research study being conducted by Alisha Rasmussen
from Western Sydney University. The research focuses on creative pedagogy and the effects
this practice may have on students in secondary education. An interview will be conducted
between the interviewer and the interviewee. The information collected will be coded,
analysed and entered into a research assessment which will be submitted to Western Sydney
University by the researcher.
How is the study being paid for?
This project is not funded and will only require time dedication from the interviewer and
interviewee.
What will my child be asked to do?
Your child will be asked to answer interview questions provided by the
researcher/interviewer.
How much of my child’s time will he/she need to give?
Twenty-five (25) minutes will be dedicated to this project depending on interviewee
availability.
What benefits will my child, and/or the broader community, receive for participating?
The research is conducted in hopes to gain a detailed insight of student engagement in
secondary education, and to discover new ways to increase student engagement.
Will the study involve any risk or discomfort for my child? If so, what will be done to
rectify it?
At any time before, during or after the interview your child feels uncomfortable, the child can
express this discomfort with the interviewee or any participating bodies and the interview
will conclude. The interview may continue or completely conclude depending on the child’s
personal preference.
How do you intend to publish or disseminate the results?
It is anticipated that the results of this research project will be published and/or presented in a
variety of forums. In any publication and/or presentation, information will be provided in
such a way that the participant cannot be identified, except with your permission. All names
and personal information that relates to personal identities will be changed for confidentiality
reasons. If requested, the data submitted to Western Sydney University for assessment
purposes may be forwarded to you personally.

Alisha Rasmussen – 19059378 15

Will the data and information that my child provides be disposed of?
Please be assured that only the researchers will have access to the raw data you provide and
that your data will not be used in any other projects. Please note that minimum retention
period for data collection is five years post publication. The data and information you have
provided will be securely disposed of.
Can I withdraw my child from the study? Can my child withdraw from the study?
Your child’s participation in the study is entirely voluntary and they are not obliged to be
involved.
Your child can withdraw at any time, or you can withdraw them, without giving a reason.
If your child does withdraw, any information that has been supplied will be used for data
purposes unless requested otherwise.
Can I, or my child, tell other people about the study? [Remove if not relevant]
Yes, you and/or your child, can tell other people about the study by notifying the researcher
to provide you with relevant details.
What if I require further information?
Please contact Alisha Rasmussen on 19059378@westernsydney.edu.au should you wish to
discuss the research further before deciding whether or not to participate

Alisha Rasmussen – 19059378 16

 Appendix 4 – Student consent form

Student Consent Form – Parent/Carer

STUDENT 2A / 2B
Project Title: “How does creative pedagogy effect student engagement?”
I, [Parent/Carer to print name], hereby consent for my child [Parent/Carer to print name
of child], to participate in the above named research project.
I have discussed participation in the project with my child and my child agrees to their
participation in the project.

I acknowledge that:
• I have read the participant information sheet (or where appropriate, have had it read to
me) and have been given the opportunity to discuss the information and my child’s
involvement in the project with the researcher/s
• The procedures required for the project and the time involved have been explained to
me, and any questions I have about the project have been answered to my satisfaction.
I consent for my child to:

☒ Participating in an interview

☒ Having the interview audio recorded for project use only

☒ Having their details recorded for project use only

☒ Having photographs or videos recorded for project use only

I consent for my child’s data and information provided to be used in this project and, as
long as the data is non-identified, in other related projects for an extended period of
time.
I understand that my child’s involvement is confidential and that the information
gained during the study may be published and stored for other research use but no
information about them will be used in any way that reveals their identity.

Alisha Rasmussen – 19059378 17

I understand that my child’s participation in this study will have no effect on their
relationship with the researcher/s, and any organisations involved, now or in the future.
I understand that I, or my child, will be unable to withdraw their data and information
from this project. Data cannot be withdrawn (unless approved) as the information provided
will be applied to an assessment which requires such data. In withdrawing this information,
the researcher cannot competently complete the assessment for the Researching, Teaching
and Learning 2 unit at Western Sydney University.

Signed:
Name:
Date:

Alisha Rasmussen – 19059378 18

 Appendix 5 – Interview forms TEACHER

Participant Participant name Time Date:

Number: and school: commenced:
Teacher 1A or TEACHER
Teacher 1B
Time concluded:

Questions: Themes:
Tell me about yourself…

Do you like working in your profession?

If yes, why? If no, why not?

Do you think this belief affects the way you teach students?

If yes, why? If no, why not?

What is ‘student engagement’ to you?

What does ‘student engagement’ look like to you?

How can you tell if a student or students is engaged in the classroom?

How can you tell if a student or students are disengaged in the classroom?

How could student engagement be improved?

Alisha Rasmussen – 19059378 19

Who is responsible for making this happen?

What are your views on creative teaching?

What does creative pedagogy (or way of teaching) mean to you?

Do you implement creative activities in the classroom? If so, how? If not, what
kind of activities do you implement in the classroom?

How does this effect student engagement?

EXTRA NOTES:

Alisha Rasmussen – 19059378 20

 Appendix 5 – Interview forms STUDENT
Participant Participant name Time Date:
Number: and school: commenced:
Student 2A or STUDENT
Student 2B
Time concluded:

Questions: Themes:
Tell me about yourself…

Do you like your school?

If yes, why? If no, why not?

Do you think this belief affects the way you participate in class?

If yes, why? If no, why not?

What are your favourite school subjects? Why?

What are your least favourite school subjects? Why?

What is ‘student engagement’ to you?

What does ‘student engagement’ look like to you?

How can you tell if a student or students is engaged in the classroom?

How can you tell if a student or students are disengaged in the classroom?

Alisha Rasmussen – 19059378 21

How could student engagement be improved?

Who is responsible for making this happen?

What makes it easier for you to engage yourself in the classroom? What makes a
lesson interesting? Why? What affects (if any) does this have on your learning?

What is your definition for ‘creativity’?

Have you participated in creative classroom activities? If so, how did this make
you feel?

Do you think creative classroom activities effect your learning? How? Why?

How does this effect your engagement in the classroom?

EXTRA NOTES:

Alisha Rasmussen – 19059378 22