Sunday, June 17, 2012

Annotated Bibliography


RQ:  How do middle school students view artists?  How would they identify themselves?
SQ: What teaching approach allows teachers to sufficiently understand their student’s individual identity, abilities, aptitudes, and needs in the student’s current cultural climate?

Goal:  To look at students who identify as artists and investigate how they see their identities transforming? 


Annotated Bibliography

Sweeny, R. W., Buffington, M. L., Helms, K. R., Johnston, J. A., & Yoon, S. (2010). Web 2.0 and Social Constructivism. Inter/actions/inter/sections: art education in a digital visual culture (pp. 161-169). Reston, VA: National Art Education Association.
The development of Web 2.0 supports socially mediated, constructivist learning environments.  The article states that its emergence has the potential to dramatically alter current educational practices.  The data sources are three technologies associated with Web 2.0: Delicious, Blogs, and Second Life.  The article seeks to explore how teachers and students could utilize them to promote constructivist learning.  The article defines constructivism as "The notion that knowledge is not a thing that can be easily conveyed from one person to another in the manner that a coin can be exchanged."  The article draws the conclusion that "as students will encounter these technologies in their lives, we need to teach them meaningful ways to use these technologies that can further their classroom learning."  This article is important in understanding the way a student's individual aptitudes and abilities can be honed within the classroom to meet the digital visual culture of today.


Sweeny, R. W., Darts, D., Castro, J. C., Sinner, A., & Grauer, K. (2010). New Media Arts Education: How Community-Based Programs Can Reshape Teaching and Learning in The Age of Web 2.0. Inter/actions/inter/sections: art education in a digital visual culture (pp. 80-89). Reston, VA: National Art Education Association.
The problem this article proposes is the significant disparity and disconnect between new technology and school education.  New technology is categorized under Tim O’Reily’s marketing phrase, Web 2.0.   Web 2.0 marks the shift made in Internet activities by “emphasizing the Web as a place for collaboration, sharing, and interaction,” instead of simply a venue to present information.  With this change and advance in technology comes a new way in which teens are creating and participating in activities outside of school.  The article states that digital communication networks and technologies are “lowering the barriers to cultural participation and co-creation.” 
            The research questions in the article aim to find a solution to the void of new technologies in schools today.  The stated goal is “to understand the diverse ways arts and learning can emerge and shift our conceptions of contemporary arts educational curriculum and pedagogy.”  The proposed solution is to look at how community new media arts education programs have responded to this phenomenon.  The article states that these “community-based initiatives approach media education from creative, artistic/aesthetic skill sets and are grounded in curricula that foster self-expression, creativity, critical analysis, and the development of identity and voice.”



Stoddard, L. (2012, June 2). Saving Bullies and Dropouts. The Salt Lake Tribune. Retrieved June 9, 2012, from http://www.sltrib.com/sltrib/opinion/54210825-82/students-bullying-feel-student.html.csp
According to Lynn Stoddard’s article, Saving Bullies and Dropouts, when only a few subjects are used to assess a student’s success in school, many begin to feel inferior, which causes students to be cruel to those who are naturally talented in these “core” subjects.  Stoddard proposes redesigning education in order to help every student excel and feel valuable.  “What if we were to change the main goal and purpose of education from student achievement in a narrow curriculum to this: Help each student find a purpose for existing, to be a special and valued contributor to society?”  Stoddard gives a personal example of an educational design she implemented while serving as principle, where teachers united to help students grow in “three dimensions of human greatness: identity, inquiry, and interaction.  By using classroom subjects, not as goals, but as tools to grow towards greatness, students were allowed to excel in areas where they were inherently skilled.  Resultantly, bullying largely decreased.



The Importance of Middle Level Education.  This We Believe: Successful Schools for Young Adolescents . (n.d.). Association for Middle Level Education - AMLE  . Retrieved June 15, 2012, from http://www.amle.org/portals/0/pdf/publications/On_Target/middle_or_high/middle_or_high_8.pdf
This article outlines aspects of young adolescents that are important to understand for educators and education systems to succeed in meeting the needs of middle school students.  Meeting students where they are at requires relevant curriculum that both engages and complements contemporary students.  The article states “Young people undergo rapid and profound personal changes between the ages 10 and 15 than at any other time in their lives… early adolescence is a period of tremendous variability among youngsters of the same gender and chronological age.  Dissimilar rates of growth are common in all areas of their development.  Changes occur irregularly, and no two young adolescents enter puberty at the same time or progress at the same rate.”  There is a strong desire for peer acceptance.  Middle school students feel a need to belong to specific social groups.  Ultimately, “The guidelines for selecting educational goals, curriculum content, and instructional processes grow out of an awareness of and respect for the nature of these distinctive young adolescents.” 





Smith, F. (2009, January 28). Why Arts Education Is Crucial, and Who's Doing It Best | Edutopia. K-12 Education & Learning Innovations with Proven Strategies that Work | Edutopia. Retrieved June 15, 2012, from http://www.edutopia.org/arts-music-curriculum-child-development
As the title of the article states, art education is important not just for students who consider themselves artists, but for all students.  “Involvement in the arts is associated with gains in math, reading, cognitive ability, critical thinking, and verbal skill.  Arts learning can also improve motivation, concentration, confidence, and teamwork… They can connect people more deeply to the world and open them to new ways of seeing, creating the foundation to forge social bongs and community cohesion.”  The article stresses the public’s perception that the arts are lovely but no essential.  Schools seem to be missing the connection between art education and academic achievement.  The article concludes with a statement by Tom Horne, the state superintendant of public instruction in Arizona, “We’re preparing kids for jobs.  We’re preparing them to be citizens.  And we’re teaching them to be human beings who can enjoy the deeper forms of beauty.  The third is as important as the other two.”


Sprague, M. M., & Bryan, S. L. (n.d.). JSTOR: The Clearing House, Vol. 75, No. 1 (Sep. - Oct., 2001), pp. 41-44. Aesthetics and the Middle School Learner. Retrieved June 15, 2012, from http://www.jstor.org/discover/10.2307/30189697?uid=2129&uid=2&uid=70&uid=4&sid=56263010723
The article starts by stating two important questions: What is beautiful to a middle schooler?  How often are middle schoolers asked to think about what they find beautiful and why?  The article addresses the importance of these questions in understanding their relation to education.  Recognizing and creating beauty are critical to achieving the full potential of an adult.  It is the teacher’s job to make clear the underlying elements of what is beautiful and to help students explore, locate, and manifest their ability to create beauty themselves.  The article references John Dewey and his portrayal of the teacher as “an artist who facilitates the development of the child as artist.”  He believed that “For the artist, aesthetic insight leads to further insight” and that “No intellectual activity is complete without aesthetic quality.”  Read, a follower of duty believed that the “purpose of education is to foster growth of the individual while harmonizing the individual with his or her social group.  Other educations, such as Broudy, believe that the use of the arts to teach other subjects, “Results in lessons that are more concrete, motivating, and engaging… Aesthetic lessons foster higher academic achievement.  It is this integrative approach to aesthetics that has the most potential for reaching all students.”  Ultimately, the article encourages middle school teachers to “incorporate the study of aesthetics—the search for and appreciation of beauty—into all aspects of the curriculum,” and to investigate how knowledge of content can “enrich and complement the beauty inherent in each subject.” 



NGA Classroom: Who Am I?: Self Portraits in Art and Writing: About This Lesson. (n.d.). National Gallery of Art. Retrieved June 15, 2012, from http://www.nga.gov/education/classroom/self_portraits/
This is a lesson that investigates the middle school identity, specifically through art.  It includes a set of art and writing activities designed to help these students begin to answer the question, “Who am I?”  After seeing images of self-portraits by artists such as van Gogh, Gauguin, Warhol, etc, students will make a variety of self-portraits of their own, write poetry, write a speech, and a letter about themselves.  Some questions they will be encouraged to answer or think about are:
-What are the distinctive things that make me “me?”
-How do I want people to see me?
-How do I see myself (I added this one)
-How am I changing from day to day or year to year?
-Who do I want to become?
This will be a unit on self-exploration through self-portraiture to encourage the artist to make decisions about how to represent him/herself authentically. 



Roland, C. (2005, September 1). Identity in the artroom. - Free Online Library. Free News, Magazines, Newspapers, Journals, Reference Articles and Classic Books - Free Online Library. Retrieved June 15, 2012, from http://www.thefreelibrary.com/Identity+in+the+artroom.-a0135932155
This article gives several examples of ways students can investigate their identity in the art room.   One project is to have students look at Van Gogh’s use of color and portraiture.  Van Gogh used color to express mood and emotions.  Students should create a self-portrait using color to express a quality or characteristic about themselves.  Another project is to create a self-portrait as a chair.  This is a new way of viewing self-portraits in which students look at Pepon Osorio’s work where he explores issues of cultural identity and place by altering and decorating objects and environments.   Students then would create portraits of themselves by decorating wooden chairs with images and symbols of their cultural heritage.  Another example of a project is Identity in Ethnicity in which students explore ethnicity and identity through writing and photography.  Students would shoot black and white photographs of themselves and then manipulate and write about it to describe their characters. 



Accelerating Struggling Students' Learning through Identity Redevelopment - Middle School Journal  . (n.d.). Association for Middle Level Education - AMLE  . Retrieved June 17, 2012, from http://www.amle.org/Publications/MiddleSchoolJournal/Articles/March2011/Article3/tabid/2354/Default.aspx
This article discusses the importance of identity development in education.  When students see themselves as failures and incapable it has a large affect on their schoolwork in the future and often results in student drop out.  This article stresses the importance of reshaping and redeveloping student’s identity into capable, productive, contributing citizens.  When they have a feeling of success and identity students become aware of the influence of their own beliefs, behavior, and efforts on their academic and social accomplishments.  Students succeed when they view themselves as learners and contributing members of a classroom community.  “Students are more apt to learn in environments where they feel a sense of belonging or believe they are welcome and contributing members of the group.”  The research discussed in the article examines an enduring aspect of self through three core constructs of self: accomplishment, belonging, and engagement. 


CCSDTV | 6th-8th Middle School Art Using the Enduring Idea of Identity | Clark County School District. (2011, March 29). CCSDTV | tv.ccsd.net. Retrieved June 12, 2012, from http://tv.ccsd.net/watch?v=NDmwUW5kLkBM
This is a video of a classroom discussing different ways an individual can express their identity. The middle school art students brainstorm “possible ways of communicating their identity, selecting the top five things they find the most important. Students then collectively discuss one part, their name, to use on the next project. Students are introduced to a project using their name and Sign Language, and come up with ways to enhance the project, communicating more about themselves.”  The students discussed adding elements of art they previously learned in class such as texture and shading and combine that with a background that depicted things they like to do or other ways of expressing their identity. 
Students described other ways identity can be expressed:
-How you live
 -What you celebrate
-Personality
-Age

Sunday, June 10, 2012

What Works? Chapter 7


1.  Mindwork: Create a Time Line
Make a timeline for your research.
Consider:
Observing, Interviewing, Gathering materials, Reading, Writing, Analyzing and interpreting, and Revising
Structure: Month by Month
Identify the most challenging parts (take the most time)

September:
Find a partner to collaborate with on the project
Gather materials/Equipment
Find student(s) to follow
Get permission from schools, teachers, students, parents, etc.
Plan out schedule for filming/documenting students inside and outside of class

October:
Formulate Questions to help guide the footage and narrow down the research
Begin filming weekly
Interviews?
Keep a weekly reflection log

November:
Continue filming
Hopefully the research is taking a specific direction
Weekly reflection log

December:
Continue filming
Hopefully the research is continuing to follow direction
Weekly reflection log

January:
Assess progress of footage for documentary
Make revisions
Change direction if needed

February:
Resume filming
Resume weekly reflections in journal

March-May:
Film, film, film
Hopefully the footage is coming to a resolution/ending for the school year
Realizations
End filming

Summer:
Edit, cut, edit, cut
Hopefully finish a rough cut of the documentary


After creating the timeline…
Are there Temporary adjustments you’ll need to make in your personal life to accomplish this research?
I’ll need to be faithful to the schedule I plan out for filming so that I have footage to work with from each week of the student’s life/school year/experience.  So this may mean cutting personal and social plans down.

2. Mindwork: Find a Grant Source
Go online and find a funding agency you think might offer a grant for a classroom research project like yours.

Who/what is the agency?
National Endowment for the Humanities
What are its goals?
NEH serves and strengthens our republic by promoting excellence in the humanities and conveying the lessons of history to all Americans. The Endowment accomplishes this mission by awarding grants for top-rated proposals examined by panels of independent, external reviewers.
With whom does the agency associate?
NEH grants typically go to cultural institutions, such as museums, archives, libraries, colleges, universities, public television, and radio stations, and to individual scholars.
What other kinds of projects have they funded?
Since 1965, the Endowment has opened new worlds of learning for the American public with noteworthy projects such as:
                Seven thousand books, 16 of which have won Pulitzer Prizes, and 20 of which have received the Bancroft Prize.
                The Civil War, the landmark documentary by Ken Burns viewed by 38 million Americans
                The Library of America editions of novels, essays, and poems celebrating America’s literary heritage
                The United States Newspaper Project, which cataloged and microfilmed 63.3 million pages of historic newspapers, paved the way for the National Digital Newspaper Program and its digital repository, Chronicling America
Annual support for 56 states and territories to help support some 56,000 lectures, discussions, exhibitions and other programs each year.
What criteria do you meet?
Collaborative Research Grants support interpretive research undertaken by a team of two or more scholars, for full-time or part-time activities for periods of a minimum of one year up to a maximum of three years. Support is available for various combinations of scholars, consultants, and research assistants; project-related travel; field work; applications of information technology; and technical support and services. All grantees are expected to communicate the results of their work to the appropriate scholarly and public audiences.
Eligible projects include
                Research that significantly adds to knowledge and understanding in the humanities;
Conferences on topics of major importance in the humanities that will benefit scholarly research
What are you missing?
A Collaborative partner!
What assumption does this grant have about education?
Advance the humanities!

3.  Mindwork: Write a Working Proposal

Background (or Position Statement):
In what ways does a community’s perception of an artist and art education affect a middle school art student’s self-proclaimed identity from one school/community to another? And what approach allows teachers to sufficiently understand their student’s individual abilities, aptitudes, and needs in a digital visual culture?

Data Sources:
-Access to students inside and outside the classroom (first, an entire classroom (or a few classrooms), then chose focal students from each classroom)
-Surveys given to entire classrooms

-Student journals – include weekly or monthly responses on:
How do they feel they are seen by their community/peers?
How do they see themselves (as an artist, or otherwise)?
How does the community/peers view art?
Do they feel successful as a student?
What is success?
How do they feel they perform in their other classes?
How do they view art? What is its purpose? Different than art education in the classroom?
Who is art for?
How do they feel they learn best?
What qualities do they value in a teacher?
When/how/in what way do they learn best?
What type of art do they create/desire to create in the future?

-Student Artwork
-Student interviews and observation through film documentation
-My own field notes

Related Research:
Web 2.0 and Social Constructivism
Melanie L.  Buffington, with Kathryn R. Helms, Jan A. Johnston, and Sohhyoun Yoon
From: “Inter/Actions/Inter/Sections: Art Education in a Digital Visual Culture”

New Media Arts Education: How Community-Based Programs Can Reshape Teaching and Learning in The Age of Web 2.0
David Darts, Juan Carolos Castro, Anita Sinner, and Kit Grauer
From: “Inter/Actions/Inter/Sections: Art Education in a Digital Visual Culture”

Saving Bullies and Dropouts
Lynn Stoddard
From: The Salt Lake Tribune

Methods and Analysis:
Student-Centered
Survey students in art classrooms of each community/school type within Columbia, MO
Pick a focal student from each classroom
Film them inside the classroom and outside the classroom
Observe how their background affects their behavior at school
Observe how their community affects the way in which the students view themselves/view art/view success
Draw conclusions based off of observations and interviews/journals of the students
Formulate conclusions into hypothesis/results of sorts

Time Line: (One school year of filming students)
September:
Find a partner to collaborate with on the project
Gather materials/Equipment
Find student(s) to follow
Get permission from schools, teachers, students, parents, etc.
Plan out schedule for filming/documenting students inside and outside of class

October:
Formulate Questions to help guide the footage and narrow down the research
Begin filming weekly
Interviews?
Keep a weekly reflection log

November:
Continue filming
Hopefully the research is taking a specific direction
Weekly reflection log

December:
Continue filming
Hopefully the research is continuing to follow direction
Weekly reflection log

January:
Assess progress of footage for documentary
Make revisions
Change direction if needed

February:
Resume filming
Resume weekly reflections in journal

March-May:
Film, film, film
Hopefully the footage is coming to a resolution/ending for the school year
Realizations
End filming

Summer:
Edit, cut, edit, cut

Possible Findings:
I’m prepared that after I start filming, my research may take a different direction, but as of now I hope to find out how to best understand middle school art students and their identity during a time when art education is drastically changing (and will drastically change) due to 21st century digital visual culture and its continuous development. 

Dissemination:
Documentary – film festivals, website, school showings, etc.

Budget/Resources needed:
-A Partner!
-Film/audio equipment
-Possible extra editor to help make cuts and edits

Thursday, June 7, 2012

Research Translation


Web 2.0 and Social Constructivism
Melanie L.  Buffington, with Kathryn R. Helms, Jan A. Johnston, and Sohhyoun Yoon

            The argument/research problem, or “hunch,” the article discusses is that Web 2.0 supports socially mediated, constructivist learning environments and that its emergence has the potential to dramatically alter current educational practices.  The data sources are three technologies associated with Web 2.0.  The article seeks to explore how teachers and students could utilize them to promote constructivist learning.  The article defines constructivism as “the notion that knowledge is not a thing that can be easily conveyed from on person to another in the manner that a coin can be exchanged.”  The article references Vygotsky and his argument that “social environment significantly affects what and how students learn.” 
            The first data source technology is Delicious, “a social bookmarking site that allows a user to ‘tag’ websites, add descriptions, categorize them, and save them for future use.”  It is proposed that through Delicious, classroom teachers can share links with students to start research, collect resources for group projects, and for documentation of their own research process.  This would allow students to understand their “artmaking process and see the relationships between and among disparate ideas.  This sort of research would prepare students for speaking thoughtfully about their own artwork.”  This type of technology source can be used in ways to promote constructivist teaching and learning.  “For instance, through reviewing the tags of others, a user can learn from someone else and build a network of other Delicious users who are interested in similar topics.” 
            The second data source technology is blogs.  The articles describes blogs as a venue that “may contribute to socially constructing new knowledge, but it is up to the blogger and the commenters to make this type of interaction happen… Blogs may promote conversation and learning that can be constructivist.”   The article states that using a blog with a class as a form of ongoing critique could also be a way to continue dialogue and artmaking.  Additionally, the art world changes rapidly and blogs can accommodate these changes.   
            The third and last data source technology the article discusses is Second Life, a virtual three-dimensional online community created by users.  It allows users to create their avatars, which are graphical representations of people within the program.  The avatars represent virtual identities of the users and navigate virtual places.  The article argues that this type of program “may be used to help students learn about their identity and to collaborate with others through experience a virtual 3-D society.” 
            The article concludes that “as students will encounter these technologies in their lives, we need to teach them meaningful ways to use these technologies that can further their classroom learning… teachers and school districts will need to rethink the structure of the traditional curriculum and classroom dynamic to bring about other practices that foster constructivist teaching and learning.”  

What Works? Chapter 5-6

Chapter 5
1. Mindwork: Combine Data from Multiple Sources
More Data Sources-
Documentation footage = observation of students in depth
Field notes observing students within the classroom as well as outside
Interviews of student
Focus always on the student

How should I collect it?
Ideally, I’d like to spend the next school year focusing on between 1-4 students at a specific type of school (public, private, alternative, rural); either one from each school, or just 1 student at 1 type of school.  This would involve going to the school a couple times a week taking footage the entire year. 
What kind of special permissions do I need?
I will need permission to go into the school(s) and film, as well as permission for the art teacher to film her specific class, permission from the student I choose to focus on, and the parents of that student.  So, a lot of permission!

Chapter 6
1. Search Archives
Archives notes – what kind of archival information would improve my data?
Letters, journals, diaries, logs, etc.           

2. Mindwork: Count, Measure, and Chart
Identify something related to your research project that you can measure or quantify:
The formal technique and conceptual strength of student’s artwork [same project] across different types of schools (public, private, rural, alternative)
What kind of visual graph or design would represent this data?
I would do a pie graph with percentages of which schools and which students were able to grasp technique or concept based art.

3. Mindwork: Document Oral Language
N/A

4. Mindwork: Try Ethnographic Observation
N/A

5. Mindwork: Try Critiquing Culture
N/A

Wednesday, June 6, 2012

What Works? Chapter 3 & 4


Chapter 3
1. Mindwork: Discover What You Know

Leading Questions:
What I know?  I know my personal education experience:  Traditional, predominately white, middle-class public school. 
Did I do well in this learning environment?   I would say I did.  My high school especially gave a lot of freedom to its students in the hopes that they would rise to the occasion.  I worked well with more freedom in this way. 
How can a teacher teach at a school with a completely different demographic of students that she experienced in their own personal education?
Should there be a different approach to education depending on type of school? (Public, private, rural, alternative, etc.)
What should the goals be?  Different Goals?
Also do boys and girls learn differently?

Broad Research Question:
How can teachers understand students learning today in the 21st century as opposed to the 20th century?
            Things to consider:
            Web 2.0
            New technology – Digital Generation
            Increase in Bullying – more/different types of venues like the Internet
            Community
             New set of aptitudes and abilities

Sub-Questions:
How does a middle school student view art?  Is it an extension of their education or is it a hobby or is it apart of their identity?
What is education for?  What is art education for?
What is it intentionally or unintentionally doing?  What are its effects?
Who is it for?  Everyone?
What do the students from different types of schools have in common? How do they differ?
How do art students perform in other classes?

What sources or contacts would I go to in order to find out more?
            Documentarians
            Professors
            Perhaps a partner to work with me on the project – collaboration
            Middle School Teachers in different types of schools
            Students within these schools
           
2.  Mindwork: Try a Google-ography

Transforming Education for the 21st Century: New Pedagogies That Help All Students Attain Sophisticated Learning Outcomes
Study by Harvard University
“As this study documents, the 21st century seems quite different than the 20th in the capabilities people need for work, citizenship, and self-actualization”
           

Comparing 20th and 21st Century Education Programs
Table Image comparing the Paradigms

The Power of Project Learning
Promotes project based learning as opposed to the skill and drill model that dominates a large part of education

While I could find articles and responses to a Part 1 of my question:  How to teach in the 21st century, I couldn’t find many results discussing the different teaching approaches for the different types of schools.  Perhaps I need to change that part to something more specific or change the terms/wording.

Key terms:
Self-actualization
Paradigms
Project-based learning

3.  Mindwork: Shape Your Working Bibliography
After reviewing my bibliography and sources, I’m wondering if I might just pick one type of school and delve into that type of school and type of student that attends that school more specifically.  I want the content to be rich and detailed, perhaps not spread out amongst several different schools, but rather defining what educational approach works best at one specific school? 
With that said, I really like the idea of comparing and contrasting the different types –public, private, rural, alternative.  I’m not sure entirely where I want to go with that though. 
Most of my sources are articles and websites.  I’d like to get different materials such as curriculum units (since that is a large part of the topic), books, first hand accounts, documentaries, etc.
I’m not sure where to go next.  I wish I could have found more material on comparing/contrasting different school types so that I can begin to draw connections and form more research questions. 
I think I need to talk to my professors for guidance on where to take my question.


Chapter 4
1. Mindwork: Explore the Emic and the Etic
This research would call for more of an etic stance.  I would be observing the different art students in their own classrooms, their own environments, hopefully their own communities and homes, etc.   I wouldn’t want my being there to be an actual presence or variable on the student’s responses and behavior.  I feel as though I would want to focus on just the student and not on the teacher or the parents, but only focus on the effects and the mark left on the student by those unseen aspects within my documentation.  

2.  Mindwork: Use the Three Questions for Analysis
I don’t feel like I have enough evidence to discuss what surprises, intrigues, and disturbs me quite yet.  Ideally, my research would be in the form of film documentation and my evidence would be the students and their behaviors, actions, and responses to their education process. 

3.  Mindwork:  State Your Ethics

[date]
[student/parent/guardian’s name and address]

Dear [student/parent/guardian’s name]

I am in the process of visualizing and actualizing a documentary entitled [working title of the documentary] that will seek to investigate the similarities and differences between assorted types of schools within the Columbia, Missouri area.  The project will focus on teaching style, curriculum, and class projects within a Middle School art class as well as the life of an individual from each school.  These schools will include [insert schools].   I hope to follow and film these [4] students not only within the art classroom, but also outside of school and in their homes.  We would appreciate your permission to include [student’s name] in this project to represent a student who attends [school’s name/type of school].  This could also include other forms of media and excerpts of the material for possible use for advertising, publicity, and promotional purposes. 

[Provide a brief description of why the student is specifically valuable to the project]

Two copies of this request are enclosed.  Please sign both copies and return one to me, keeping the other one for your files.  Thank you for your consideration.

I (we) grant permission for [student’s name] to participate and be featured in [working title of the book].


______________________________________
Signature of student (or parent/guardian of student under age 18)


____________________________
Date

Tuesday, June 5, 2012

What works? Chapter 2


1. Mindwork: Explore Trial Questions

What type of curriculum and strategies of instruction, if used within the classroom, would facilitate and encourage self-guided learning outside the classroom, allowing students to locate and manifest what they consider to be artistically important?

Trial Questions: 
Teaching Practices
-How can I take this question further and perhaps make it more specific and innovative in order to reach students where they are at?

Student Learning or Outcomes
-Should motivation be focused on external action or internal desire?
-How can the curriculum ultimately better serve the student and their artistic process?

School Policies or Politics

Curriculum
-Do students work best under student centered curriculum or teacher centered curriculum?
-Should lesson plans be precise and expect a specific learning outcome?
-Should lesson plans be more focused on the development of big ideas?

2. Mindwork: Position Yourself in Relation to the Question
Who am I in relation to this idea? How does my position affect the way I approach and/or understand it?
I am in artist.  I am a teacher.  I am a student.  I have experience. In high school my art teacher was very much of the approach of student centered curriculum and I thrived in that type of environment.  I know what worked for me as a student and what didn’t work.  But that does not mean it will work for everyone or even a majority.  The question then becomes, what type of teaching style or curriculum can meet all students, not just the few.

What ethical issues might I raise?
Who will be best served by this study?
Well, hopefully my students as a whole will be best served.  I believe by answering the question I will learn ways to teach more effectively and therefore the students will benefit, at least that is the goal. 
Who might be affected or hurt by it, and how?
What are my hidden biases and assumptions?
It is hard not to assume that everyone learns in the same way I do.  While I know this is not true, it’s hard to think and act completely objectively.  The question would better help me understand the different styles of learning and the different needs of my students.

3. Mindwork: Refine Your Question:
Unclear terms:
Self-guided learning—self-efficacy, the ability for a student to locate and manifest what they view to be artistically important.
            This would include a student’s ability to identify personal aspirations, interests, beliefs, and philosophies, their ability to set and attain short-term and long-term goals, to monitor their progress, evaluate their overall progress, draw conclusions, and reflect and correct. 

Education Philosophies:
Student centered Teaching, convergent thinking, Idealism? 

What’s missing?  The development of the question into a deeper more specific question.  I feel like it is too broad with not enough risk.

Subquestions:
Are students able to critique their own art?  Others art?
Are the students able to self-reflect and self-correct?
Are the students able to locate their own interests?
Am I able to separate my own educational experience from the experience students may need that is different than what I needed?
Am I able to adapt and change the course to meet the needs of the culture of each class over the years?

What do I like about this question?
I like that it involves giving students freedom to work within their interests so that they can be internally motivated to progress their way of thinking and their education and ultimately their artwork and ability to think conceptually and make connections. 

Research Translation


Research Article

New Media Arts Education: How Community-Based Programs Can Reshape Teaching and Learning in The Age of Web 2.0
David Darts, Juan Carolos Castro, Anita Sinner, and Kit Grauer

            The problem this article proposes is the significant disparity and disconnect between new technology and school education.  New technology is categorized under Tim O’Reily’s marketing phrase, Web 2.0.   Web 2.0 marks the shift made in Internet activities by “emphasizing the Web as a place for collaboration, sharing, and interaction,” instead of simply a venue to present information.  With this change and advance in technology comes a new way in which teens are creating and participating in activities outside of school.  The article states that digital communication networks and technologies are “lowering the barriers to cultural participation and co-creation.” 
            The research questions in the article aim to find a solution to the void of new technologies in schools today.  The stated goal is “to understand the diverse ways arts and learning can emerge and shift our conceptions of contemporary arts educational curriculum and pedagogy.”  The proposed solution is to look at how community new media arts education programs have responded to this phenomenon.  The article states that these “community-based initiatives approach media education from creative, artistic/aesthetic skill sets and are grounded in curricula that foster self-expression, creativity, critical analysis, and the development of identity and voice.”
            The article cites research to supply further information on the subject.   The cited sources are relevant and flow well throughout the article.  Most of the data is from 2000-present.  Both quantitative and qualitative data is discussed.  For example, one quantitative piece of data from the article states, “Over 70% of Canadian teens between 13-17 years of age regularly use social networking sites like Facebook and Myspace.  Of those teens using the Internet, over half are creating and distributing new media content.  Much of this engagement can be characterized as engaging in a participatory culture—one that is described as having low barriers to artistic expression, civic engagement, and collaborative learning.”  The article goes on to discuss the data source: two examples of community-based new media arts programs that are successfully integrating new media art and contemporary art educational practices.  The hope here is by “examining such programs, we can begin to understand how these alternative educational spaces support and help redefine knowledge creation for a new generation of learners.”  The article continues to say, “Our preliminary research indicates these non-school based learning sites can serve as powerful locations of transforming and learning that effectively meet the challenges of interpreting, understanding, and participating in an increasingly mediated and complex world.” 
            The solution to the problem presented at the beginning of the article seems to be by “Combining student’s digital knowledge and experiences with art educators’ training in the interpretation, evaluation, and production of images and texts can serve as an important approach to integrating digital media into traditional school-based art education programs.  Doing so can engage students in the curriculum through topics and materials they already care about.”   
            Ultimately, the article argues that community-based programs can serve as models for designing and implementing new media art instruction into school-based programs. 
                         

Monday, June 4, 2012

Exercises for What Works? Chapter 1


First, I must preface that I haven’t actually had my own classroom yet.  I’ve only substitute taught so far.  So I will do my best to answer the exercise questions based on my experience and the predicted trajectory of my experiences and interests to come. 

1. Prepwork
What tensions do you see in your classroom?
            -Between students in school and their lives outside of school?
Through my limited experience, I have found that those students whose family life is chaotic, unstable, or if their parents are often absent, have a harder time with elements of the classroom ranging from their ability to stay focused, understanding the teacher’s authoritative role, treating fellow students with respect, etc. 
            -Between your educational background and the curriculum?
I feel blessed and privileged to have received the education I have had from Kindergarten through college.   I feel as though I have had a majority of caring, skillful teachers that have encouraged me in many ways within the classroom.  That being said, I feel as though my educational experience was very traditional, very by the book, much like many schools that exist today and have existed in the past.  This may allow me to relate to my students if I teach within this type of environment.  However, its possible that when I finish school and get a job teaching art, the structure of the curriculum will be different than anything I experienced as a student. 

What do you want to do in your classroom that you’re not doing now?
-What support would you need to be able to carry out a new strategy, curriculum, or project?
I feel as though I would need a team of teachers, or at least another teacher, that was trying similar risk-taking strategies or curriculum, to have someone to discuss ideas and outcomes with.  If not this, the support of the principal of the school is important at least.  I think some sort of encouraging support system would be ideal.
-How could you help your students connect more with their own community—its strengths and its heritage?
I think to connect with the heritage of a community, the students must first have knowledge of the community.  Therefore I would probably start the students with a simple research project of their own that involved the city or states past history and heritage.  Depending on this outcome, I would have students do a hands-on project implementing the knowledge they gained about the community/heritage.

2.  Prepwork for Scratchwork
Make a list of research questions that interest you.  When you cluster them, what themes or topics appear?
            Ideas about:
Student learning, curriculum, teaching strategies, evaluation of grading or reflection, subject matter, or the culture at large or the culture of the school, etc.

I feel at this point I am mostly interested in furthering my understanding and research of topics related to student learning and curriculum. 
Questions:
-What types of environment to students learn best in?  Small groups?  Individually?  Large lectures?  Self-teaching projects? Visual learning? 
-How much freedom within the classroom is too much?  Or not enough?  Will students stay on task and be challenged if they have more control and freedom over their own curriculum and projects?  Or do they need specific requirements to fulfill for each project?
-Should teachers encourage honing a specific media or medium or should they encourage breadth within the art world?
-What is the best way to encourage community within the classroom?
-How should a teacher encourage self-guided learning?


Locate key terms within the question that may have unclear or multiple meanings.  Rewrite the question.  Think about sub questions that would fit.
Topics and key terms that appear:
Self-guided learning
Definition of art
The limits of art in the classroom

What type of curriculum and strategies of instruction, if used within the classroom, would facilitate and encourage self-guided learning outside the classroom, allowing students to locate and manifest what they consider to be artistically important? 

3.  Prepwork for Bridgework
Write about what you already know about your topic, and brainstorm what you might want to find out:
I know my own personal experience in art education and what I consider to be artistically important
            -Where would you go to answer your questions?
Previous teachers that had a large impact and influence on the way I view art and my approach to learning and developing art.
Current teachers
Students within the age group I am interested in (middle school)
            -Who among your friends might know about the topic?
            Peers and colleagues in my same field
            -Besides books/websites what other sources could help you?
            Documentaries, articles, interviews,

4.  Prepwork for Headwork
Who are you to be doing this research?
            A Student, An artist, A teacher
Where did your own ideas/strategies come from?
My ideas and strategies as an artist and as a learner have developed over 23 years of help from family members, teachers, internships, friends, and peers.   
           
5. Prepwork for Legwork
What would count as evidence?
I’m not sure.  I suppose it would be personal testimonies of students and their experiences, as well as the progress of their development as an artist            
Which people might you interview?
            Art students of the age I would be teaching (middle school)
            Art students who are older and have had more time to develop
            Art Teachers

To what professional experts might you turn—authors, documentarians or filmmakers, website voices?
I think it would be important to not limit the different forms in which this research could manifest itself.  Therefore I would be interested in turning and discussing this topic with authors, documentarians, filmmakers, etc. 
What material artifacts might contribute more texture and information to your data?

6.  Prepwork for Eyework
Think about your process for solving problems in your daily life.  What methods—and combinations of methods—do you use?
Think of a short term problem you solved in the last day—write about your thinking and actions—make a list—analyze the methods you used—describe the process.
A minor, short-term problem I experience within the last few days was over-commitment in my schedule.  This week I have class from about 9-5pm and then was suppose to volunteer leading a team of 5th graders for a summer camp from 5-9pm.  But I realized that with this schedule I would be up all night doing homework for my courses the next day.  I was overcome with anxiety.  I waited for a few days trying not to deal with the problem.  Ultimately, I decided that I had to back down from my volunteer role so I could focus on school because there was no way I was going to be able to do it all and be successful in both areas.  The method I used was imagining what the situation would look like if I did both commitments vs. if I back down from the volunteer role.  This allowed me to see which choice would be better. 
Think of a long-term problem you’ve had to solve over the last year—write about the process—the methods you used, etc.
I would say the biggest problem I faced this year was figuring out what I was going to do after I graduated from college last December.  I graduated with a BFA in drawing and painting and a minor in art education, which didn’t leave me a very clear path to follow for a career.  I was very anxious about this decision and felt directionless (as well as moneyless).  I decided to get a temporary job until I figured out what I wanted to do or where I wanted to move.  I began substitute teaching, and luckily this solidified my decision to go back to school for art education.   The method I used to solve this problem was to talk small steps at a time to get closer to my goal, which was to find a job that I felt I could enjoy.  Secondly, I sought experience that would give me a better idea of if I did or did not want to teach. 
Compare your approaches—How do they differ?
Within both problems, I looked forward to solve them.  I set a goal for the future (whether it be the next week or the next year or the next several years) and did what needed to be done to achieve the goal properly.

7.  Prepwork for Homework 
Think about the outcome.  What do you want to accomplish?
            -Website, curriculum guide, article, exhibit of student work?
I would love to accomplish a curriculum guide, a published article or essay, and/or a student lead exhibit of their work

8.  Prepwork for Footwork
List events, conditions, people, policies, etc, that would both be strengths and positive and also drawbacks or negative. 
Look at your own strengths and weaknesses
            Positive strengths/helpful:
            -Innovative, creative characteristics of colleagues or myself
            -Art exhibitions
            -Artist talks from visiting artists
            -Supportive team of teachers, principal, and school

            Negative weaknesses/drawbacks
            -Certain policies of school or state for strict curriculum
            -Doubting, lazy, non-action takers (students or teachers)
            -Disorganized

9.  Prepwork for Deskwork
What are your organizational habits?
            -Separate binders or folders for different subjects or topics
            -Lists/Categorization
What adjustments should you make to accommodate the study?
-Start documenting student progress with film or photographs and organize the data throughout the project
How do you visualize tasks? A map? An outline?
            -Maps, outlines, lists, drawings
Where in your day would you find time to review your data?
            -At the end of the day?  Or at least at the end of the week?
            -Perhaps the next morning before the day is started

10.  Prepwork for Handwork
What kind of audiences have you written for?
Mostly just teachers and peers within a classroom.  Most recently, I have been in creative writing courses writing fiction.
What questions to you have about writing research?
            -What is the proper format?
            -What do you include, what do you not include?
            -What forum/content/length should the research be presented?

How would you like to disseminate your research?
            -Perhaps through film or a published article or website