In my literacy methods class we went through an accelerated Arts LINC cycle today. We started with a Taylor Mali poem- reminding everyone that poems are often meant to be read out loud. We then proceeded to poetryfoundation.org where each student chose a Thanksgiving poem (their search engine is awesome and now they have a ipod app).
Students joined with1-3 others who chose the same poem and practiced reading it out loud (mini readers theatre). Then we followed up by creating visual art based on the poem- using pastels. The results were stunning and diverse. After the art was completed each student generated 5 vocabulary words (no one cent or nickel words please) to describe the art (and not the poem). Finally they used the words to create a poem describing their art.
Results wer engagement, achievement and deep understanding. We finished with a few minutes of research results from Arts LINC long live arts integration.
It's the first time I've had this much fun with this group.
Tuesday, November 9, 2010
Wednesday, October 13, 2010
Thinking about Long-Term change in teaching
This fall two grants that I have evaluated came to a close. ArtsLINC and Reading First. They could not have been more different from each other is some very foundamental ways. Reading First was a top down federal initiatives while ArtsLINC was a local bottom up effort.
In rReading First professional development was mandated and practices were regulated, in ArtsLINC we sat with teachers to define what how and when they would like innovate and integrate the arts. both grants had exceptional leadership, adequate resources and a well designed professional development.
The progress in both grants have been very different. Reading First had immediate impact on the way Reading was taught, however, after the initial impact very little has changed in subsequent iterations. there were small incremental improvements to teacher practice and very little change in student outcomes.
ArtsLINC on the other hand had a very slow start changes in teacher practice and student achievement lagged. Overtime just like Reading First slowed down ArtsLINC picked up and the change in teacher practice became more pronounced. If you're looking for a quick fix go with the Top Down approach, that seems to be the way we are headed as a nation. If, however, you'd like to have long lasting impact then choose the long and tedious road. The difference is rooted in teacher agency, efficacy and development.
In rReading First professional development was mandated and practices were regulated, in ArtsLINC we sat with teachers to define what how and when they would like innovate and integrate the arts. both grants had exceptional leadership, adequate resources and a well designed professional development.
The progress in both grants have been very different. Reading First had immediate impact on the way Reading was taught, however, after the initial impact very little has changed in subsequent iterations. there were small incremental improvements to teacher practice and very little change in student outcomes.
ArtsLINC on the other hand had a very slow start changes in teacher practice and student achievement lagged. Overtime just like Reading First slowed down ArtsLINC picked up and the change in teacher practice became more pronounced. If you're looking for a quick fix go with the Top Down approach, that seems to be the way we are headed as a nation. If, however, you'd like to have long lasting impact then choose the long and tedious road. The difference is rooted in teacher agency, efficacy and development.
Friday, October 8, 2010
Time to Smile
Much of what I've been doing lately was griping. Griping about how we're headed down the wrong path, about the politics and about "Waiting for superman".
I have decided to stop griping and move on. There is much to do and many places and people to work with in wonderful ways.
I think part of my gripe comes from our much less intense artsLINC group. The grant is over and we are finishing up the report. I miss the interaction and the sense of something exciting is happening with a group of dedicated professionals. The truth is that I need to snap
Out of it, smile and remember that all of us are still in education and as long as we are there is great hope.
So No, I am not Waiting for Superman.
Integration of the arts technology and different subject matter is happening, will happen because in the 21st century we must be all connected, all integrated if we are to be full global citizens.
I have decided to stop griping and move on. There is much to do and many places and people to work with in wonderful ways.
I think part of my gripe comes from our much less intense artsLINC group. The grant is over and we are finishing up the report. I miss the interaction and the sense of something exciting is happening with a group of dedicated professionals. The truth is that I need to snap
Out of it, smile and remember that all of us are still in education and as long as we are there is great hope.
So No, I am not Waiting for Superman.
Integration of the arts technology and different subject matter is happening, will happen because in the 21st century we must be all connected, all integrated if we are to be full global citizens.
Saturday, September 4, 2010
Art Technology and Integration
Recently I had a conversation with a technology coordinator from our local school district. We had a great conversation. At the core though the problems we were discussing in technology integration mirrored similar conversations I've had about Arts integration.
At the end of the day technology is considered as nice but not necessary with most teachers ignoring it.
Instead of integrating most schools employ or nominate a technology teachers often actually reducing the chance of true integration into the curriculum.
As she described what works in technology integration it was very similar to our own growing understanding of connecting to the currculum, fostering technical expertise and providing support for real needs on an ongoing basis.
At the end of the day technology is considered as nice but not necessary with most teachers ignoring it.
Instead of integrating most schools employ or nominate a technology teachers often actually reducing the chance of true integration into the curriculum.
As she described what works in technology integration it was very similar to our own growing understanding of connecting to the currculum, fostering technical expertise and providing support for real needs on an ongoing basis.
Saturday, June 5, 2010
The Immutability of Schooling Practices
It's been awhile since I posted, so I am a little rusty. At AERA I went (among other things) to listen to Michael Cole in a distinguished lecture. I will not claim to present this complex talk in a blog posting. The essence as I perceived it was to say that schooling is a persistent institution not just in goals but in practices, norms, and rituals. In challenging the view of modern schooling as a result of industrial modes of production, he claimed (with evidence) that these modes of instruction are as old as literacy itself.
Faced with this notion of immutability, schooling has a clear and constant structure, I was forced to ask myself: How can we then engage with arts integration and its implications for the classroom (exploration, ownership, professionalism) as educational reform.? We know that as a wide phenomena we are doomed to fail. At best we can insert ideas from our practice to standards that then will be narrowly and mechanically interpreted by many.
Here too Cole provides an answer. He claims that only major social change in goals and dispositions that redefines the way we interact with each others, with other living things and the planet. Our job then is to create ideas and practices that will continue existing in small pockets- waiting for such social change giving future education options and choices to follow.
Faced with this notion of immutability, schooling has a clear and constant structure, I was forced to ask myself: How can we then engage with arts integration and its implications for the classroom (exploration, ownership, professionalism) as educational reform.? We know that as a wide phenomena we are doomed to fail. At best we can insert ideas from our practice to standards that then will be narrowly and mechanically interpreted by many.
Here too Cole provides an answer. He claims that only major social change in goals and dispositions that redefines the way we interact with each others, with other living things and the planet. Our job then is to create ideas and practices that will continue existing in small pockets- waiting for such social change giving future education options and choices to follow.
Saturday, April 17, 2010
AERA is Approaching
So I thought I would pick some of the sessions related to arts integration that looked interesting to me.
Hope to see y'all there.
1. Artful and Creative Processes as Modes for Teaching and Learning
Hope to see y'all there.
1. Artful and Creative Processes as Modes for Teaching and Learning
Unit: SIG-Arts and Learning | |||
Session Submission type: Paper Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Roundtable Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Paper Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Paper Session | |||
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Unit: SIG-Bilingual Education Research | |||
Session Submission type: Symposium | |||
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Descriptors: English Learner, Arts Education, ESL/ENL | |||
Unit: SIG-Critical Perspectives on Early Childhood Education | |||
Session Submission type: Roundtable Session | |||
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Unit: Division G - Social Context of Education | |||
Sub Unit: Section 1: Local Contexts of Teaching and Learning | |||
Session Submission type: Roundtable Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Roundtable Session | |||
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Unit: SIG-Indigenous Peoples of the Americas | |||
Session Submission type: Roundtable Session | |||
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Descriptors: Indigenous Peoples, Arts Education, Social Context | |||
Unit: Division K - Teaching and Teacher Education | |||
Sub Unit: Section 7 | |||
Session Submission type: Roundtable Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Symposium | |||
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Descriptors: Arts Education, Adolescence, Early Childhood | |||
Unit: Division K - Teaching and Teacher Education | |||
Sub Unit: Section 2 | |||
Session Submission type: Roundtable Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Symposium | |||
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Descriptors: Arts Education, Social Change, Communities | |||
Unit: SIG-Arts and Learning | |||
Session Submission type: Roundtable Session | |||
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15. New Teacher Induction: Promising and Innovative Practices for Support, Development, and Leadership
Unit: SIG-Research on Teacher Induction | |||
Session Submission type: Roundtable Session | |||
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Unit: Division C - Learning and Instruction | |||
Sub Unit: Section 5: Learning Environments | |||
Session Submission type: Poster Session | |||
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Unit: SIG-Arts and Learning | |||
Session Submission type: Paper Session | |||
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Wednesday, April 14, 2010
Race to the Top of what?
Two states won race to the top moneys. I highly suspect that arts education and integration was not a big part of these two states application. Moreover, I suspect that future applications to the "Race to the Top Money" will emulate if not flat out imitate the two accepted applications. This in long standing tradition of educational funding born out of the Bush years and continued unhindered by the current one. Even in application there is no room for creativity.
Secretary Duncan has repeatedly made public statements in support of arts education as an essential part oif a 21st century education. The proof, however, is in the pudding. The two proposals that were approved included very little reference to the arts, and the rubric used does not seem to require it.
In many ways it seems that arts education, once again is not part of the national conversation in the way that matters- resources.
Secretary Duncan has repeatedly made public statements in support of arts education as an essential part oif a 21st century education. The proof, however, is in the pudding. The two proposals that were approved included very little reference to the arts, and the rubric used does not seem to require it.
In many ways it seems that arts education, once again is not part of the national conversation in the way that matters- resources.
Saturday, March 13, 2010
Reflection
This is a part of study reflection one of my students Marsha Silver who has taught art for over a decade:
"When I was in elementary school in the1960’s, I don’t remember having art. I know that I liked to draw and read but why don’t I remember any art? Maybe that is because I did not experience Art Education in a manner that impressed me. Some of the most important and influential artists of the ’60 and 70’s lived in my lifetime! Why did I not know about Andy Warhol’sCampbell
I think we must be aware of the generation gap between us as art educators, the contemporary art world, and the world our students grow up in. The question is how do we who grew up in different eras can stay open to new media and ideas in art and help deliver them to our students. Our own view of art and "what counts as art" is most often formed in our early interactions with art. By the time we become teachers this view is established and we are in danger of not "moving" with the times. I think it is easy to see why a student might not hear the clearest artistic voices in that very same era. Chances are that these voices are controversial in their time, possibly even unknown to the teacher who grew up a different era.
Once in a while we must ask ourselves, are we exposing our students to the voices and media who 30 years from now will come to be the voices representing the first decade of the 21str century?
"When I was in elementary school in the1960’s, I don’t remember having art. I know that I liked to draw and read but why don’t I remember any art? Maybe that is because I did not experience Art Education in a manner that impressed me. Some of the most important and influential artists of the ’60 and 70’s lived in my lifetime! Why did I not know about Andy Warhol’s
Saturday, March 6, 2010
The Place of Integrated Arts Courses in Preservice Elementary Education
This week Deborah Loewenberg-Ball visited UNL and gave a talk on the place of Schools of Education in Research Universities. You can access the powerpoint of the talk here, and soon we hope to have a video up.
One notion that I find very interesting now, as I coordinate our Elementary Education preservice program at UNL is the notion of our programs as "labs of practice in which we explore and research new and innovative ways to educate the next generation of teachers. This approach is very much in line with my thinking about the role of formative or design experiments in which rigorous curricular design and assessment are intertwined to create an innovative self- correcting structure that is focused on development not as a result of external pressures but instead of growing understanding of process and product as well as influenced by the research we do in schools.
So what that has to do with the arts? Well we have a unique opportunity to leverage what we've been learning in the field into our preservice program. In the last few years we shifted from a domain approach in arts education (a class on music, visual etc.) to an integrated experience focused on aesthetic experiences. Our masters in elementary education (MAET) program has an integrated arts education course that integrates the arts, science, and literacy in the context of place based education (in our case the prairie). We are now ready to make the arts more prominent throughout our program. I am not yet sure of what form it will take but the possibilities are truly exciting.
One notion that I find very interesting now, as I coordinate our Elementary Education preservice program at UNL is the notion of our programs as "labs of practice in which we explore and research new and innovative ways to educate the next generation of teachers. This approach is very much in line with my thinking about the role of formative or design experiments in which rigorous curricular design and assessment are intertwined to create an innovative self- correcting structure that is focused on development not as a result of external pressures but instead of growing understanding of process and product as well as influenced by the research we do in schools.
Saturday, February 27, 2010
Abstract Thinking Concrete Thinking and the Arts
These are just beginning thoughts and may make sense only to me- oh well, I do welcome comments and questions.
We have a group of professors who routinely think about cognitive theory. On of the results of our thinking is presented in our book "The Unified Learning Model" (or ULM for short). But our conversations continue led by David Brooks who in bouts and spurts pushes our group along. Recently we've been discussing (among other topics) abstract thinking triggered by Elizabeth Spelke comment on Charlie Roses Brain series.
I have been thinking for a while about abstract concepts in relation to vocabulary and started to reject the notion of abstract concepts as concepts that lack objective context- as would for example a chair. Part of this is connected to our work in the arts where a representation of the object helps students realize what the concept is. Of course most of our work happens before students move into what Piaget called the formal operations stage- so my evidence is highly skewed by what I encounter every day.
Initially we tried on definitions for abstract thought. David Moshman noted:
"I've always found the notion of "abstract thought" is too vague to be of much use. Language is inherently abstract in important ways and the process of learning it is in some ways a process of abstraction, but this is obviously not beyond the capacity of young children. The same can be said of elementary mathematics, and one of Gelman's basic principles, which all children come to understand, is the abstraction principle. Piaget defined formal operations as involving hypothetico-deductive reasoning, which involves making deductive inferences to see what logically follows from false or hypothetical statements. This might be considered an advanced form of abstract thought."
As I challenged the notion of a Formal Operations stage David Moshman who spends his days thinking and writing about this responded:
We have a group of professors who routinely think about cognitive theory. On of the results of our thinking is presented in our book "The Unified Learning Model" (or ULM for short). But our conversations continue led by David Brooks who in bouts and spurts pushes our group along. Recently we've been discussing (among other topics) abstract thinking triggered by Elizabeth Spelke comment on Charlie Roses Brain series.
I have been thinking for a while about abstract concepts in relation to vocabulary and started to reject the notion of abstract concepts as concepts that lack objective context- as would for example a chair. Part of this is connected to our work in the arts where a representation of the object helps students realize what the concept is. Of course most of our work happens before students move into what Piaget called the formal operations stage- so my evidence is highly skewed by what I encounter every day.
Initially we tried on definitions for abstract thought. David Moshman noted:
"I've always found the notion of "abstract thought" is too vague to be of much use. Language is inherently abstract in important ways and the process of learning it is in some ways a process of abstraction, but this is obviously not beyond the capacity of young children. The same can be said of elementary mathematics, and one of Gelman's basic principles, which all children come to understand, is the abstraction principle. Piaget defined formal operations as involving hypothetico-deductive reasoning, which involves making deductive inferences to see what logically follows from false or hypothetical statements. This might be considered an advanced form of abstract thought."
As I challenged the notion of a Formal Operations stage David Moshman who spends his days thinking and writing about this responded:
"Is there really a formal operational stage? Well, yes and no (that's my definitive answer).
On the yes side, there are indeed advanced forms of reasoning (and associated metalogical conceptions) of the sort identified by Piaget in his work on formal operations that are commonly seen in adolescents and adults but rarely or never seen before the age of 10 or 11.
On the no side, there is no general stage transition from consistent concrete operational reasoning to consistent formal operational reasoning."
So how does this connect to art? In my mind art can be one of the structures on which cognition can lean on as it learns to become abstract. Art can provide a representation that can help us guide students to ask questions that lead to metaphoric thinking a key to following the hypothetical deductive line of thinking. The point that emerges as we consider science, art, and abstract thought was made by Kieth Jacobshagen as he spoke to our class during the summer. He pointed out that what we perceive as a car driving up the road in the dark in nothing but two abstract yellow dots. That is to say all art is abstract and our brains create an image and fill in the gaps to make sense of it. All using concrete knowledge to understand what is an essentially abstract artifact.
So art is an abstract form like language and math and can serve as a bridge to advanced abstract thinking. hmmm maybe we should do more art in school.
Wednesday, February 17, 2010
A Note about Teacher Education Programs
This stems from curriculum action on my campus recently.
The fact that a student took some arts classes in her past, and then went through an elementary education program with no emphasis on the arts education, does make her qualified to teach art in elementary schools. If we are to take ourselves seriously we must make sure that those who are certified get the best instruction and experience that we can give then. Just being an artist does NOT prepare you to teach the arts. We've known this for years about artists in residence. The same holds true for generalist teachers...
That's it just had to get it off my chest as we realign our programs.
The fact that a student took some arts classes in her past, and then went through an elementary education program with no emphasis on the arts education, does make her qualified to teach art in elementary schools. If we are to take ourselves seriously we must make sure that those who are certified get the best instruction and experience that we can give then. Just being an artist does NOT prepare you to teach the arts. We've known this for years about artists in residence. The same holds true for generalist teachers...
That's it just had to get it off my chest as we realign our programs.
Sunday, February 14, 2010
Still Snowing
In Nebraska snow is still falling and I am wondering about friendships, projects and relationships. In a word back to our networks that become so established they are an integral part of who we are. As a type I found out that I like working in teams. But that is not enough, I like working in teams over long periods of time figuring out everybody's strengths, contributions. But maybe more than anything it is about growing our thinking together.
When I look at my work I have worked with individuals and schools districts over a long period of time.
With Kathy Wilson I have worked for 12 years now, Nancy and Monique- close to decade, the Nebraska Reading First crew- seven. I like this kind of work. It is close, almost intimate, it allows everyone to be engaged in different ways at different time points. And most of all it has space for growth and change over time. This IS professional development, the kind where everyone develops. In this work we are all participants, researchers, evaluators, teachers, developers.
For example, in my last visit to California (great again), one of the kindergarten teachers approached to talk about assessments. She said (I hope I will not misrepresent here) that she as a teacher had her own way of measuring student growth but last year she stopped and instead relied on our project measurement and was dissappointed to see little growth. She hypothesized that the problem was that our assessment required active vocabulary, students had to show kinds of lines without a directive prompt, she felt (justifiably) that vocabulary acquisition could also be assessed passively by asking student to produce through a prompt, e.g. "can you draw a jagged line?". I agreed that there is merit for that approach and then we followed up a discussion about levels of precision within a study and what to do next. This is a great example of a teacher thinking as a researcher and the researcher/evaluator getting a much better idea about classroom needs and perspectives.
Monique wrote in an email recently "You two [Guy and Nancy] have impacted my thinking about education so much in the last ten years." it is more than I deserve but in reality it is a two way street- Monique has impacted my thinking just as much (if not more).
The link to art integration is clear- real integration can only emerge from sustained engagement, thinking AND socialization. It is just as much about relationships as it about achievement.
When I look at my work I have worked with individuals and schools districts over a long period of time.
With Kathy Wilson I have worked for 12 years now, Nancy and Monique- close to decade, the Nebraska Reading First crew- seven. I like this kind of work. It is close, almost intimate, it allows everyone to be engaged in different ways at different time points. And most of all it has space for growth and change over time. This IS professional development, the kind where everyone develops. In this work we are all participants, researchers, evaluators, teachers, developers.
For example, in my last visit to California (great again), one of the kindergarten teachers approached to talk about assessments. She said (I hope I will not misrepresent here) that she as a teacher had her own way of measuring student growth but last year she stopped and instead relied on our project measurement and was dissappointed to see little growth. She hypothesized that the problem was that our assessment required active vocabulary, students had to show kinds of lines without a directive prompt, she felt (justifiably) that vocabulary acquisition could also be assessed passively by asking student to produce through a prompt, e.g. "can you draw a jagged line?". I agreed that there is merit for that approach and then we followed up a discussion about levels of precision within a study and what to do next. This is a great example of a teacher thinking as a researcher and the researcher/evaluator getting a much better idea about classroom needs and perspectives.
Monique wrote in an email recently "You two [Guy and Nancy] have impacted my thinking about education so much in the last ten years." it is more than I deserve but in reality it is a two way street- Monique has impacted my thinking just as much (if not more).
The link to art integration is clear- real integration can only emerge from sustained engagement, thinking AND socialization. It is just as much about relationships as it about achievement.
Tuesday, January 5, 2010
A new year
As fresh snow is settling on our frozen Nebraska streets I set to write my first blog of the year.The blog this year is set to take a somewhat new direction.
First I would like to keep others engaged in writing on the blog as we make our way through the project and our growing understandings. Thus, thank you to Qizhen, Katie, Nancy and Monique. Each contributor added a dimension and insight.
I actually do not know if anyone else is happening by so if you do just drop a comment about the things you care about or wonder.
As for the blog for this coming year. I intend on using it first to accompany our data analysis efforts (this is where Qizhen will help) to uncover patterns and wonder about their significance before we come to a polished product- a thinking space if you will.
The second use is as a writing exercises in an efforts to increase my productivity. Finally, it is a way to communicate with an audience... even if that is limited to a few.
Beth Olshansky sent me her book: The Power of Pictures: Creating Pathways to Literacy Through Art.
First I would like to keep others engaged in writing on the blog as we make our way through the project and our growing understandings. Thus, thank you to Qizhen, Katie, Nancy and Monique. Each contributor added a dimension and insight.
I actually do not know if anyone else is happening by so if you do just drop a comment about the things you care about or wonder.
As for the blog for this coming year. I intend on using it first to accompany our data analysis efforts (this is where Qizhen will help) to uncover patterns and wonder about their significance before we come to a polished product- a thinking space if you will.
Beth Olshansky sent me her book: The Power of Pictures: Creating Pathways to Literacy Through Art.
Beth was part of our first grant and helped kick off our thinking but after a few years of joint work we found ourselves working in different directions. In a way I am eager to see if despite the different paths we end up with similar conclusions. A book is always a complex undertaking but from the skimming I have already done the book shows a promising potential for some of the classes we teach here at UNL. This may actually warrant a review for Education Review- we'll see.
Wednesday, December 2, 2009
National Reading Conference II
So, I am here in Albuquerque (spelled right this time I hope). This morning I went into a session about studying visual representation of children and youth.
The presentation focused on analysis of identities and stories that had very little to do with the work we are doing in arts integration. What it did point to was the way visual texts allow choice, and expression that are not usually acceptable in the classroom. The problem, however, was that most of the projects that presented were not part of classrooms either.... Thus, it is not as much integration in school as it is out of school chances for expression. I am not saying in any way that it is not important. Instead I am trying to say that this has to happen IN schools as part of the fabric of instruction.
The second piece was that there is a need to make our voices about integration heard- next year we will again suggest a session or at least a paper.
As for vocabulary Judith Scott allowed me to see today that we have abandoned at least partially the emphasis on wide vocabulary and focused on other aspects more- well more work to do- maybe in the next grant...
More tomorrow
The presentation focused on analysis of identities and stories that had very little to do with the work we are doing in arts integration. What it did point to was the way visual texts allow choice, and expression that are not usually acceptable in the classroom. The problem, however, was that most of the projects that presented were not part of classrooms either.... Thus, it is not as much integration in school as it is out of school chances for expression. I am not saying in any way that it is not important. Instead I am trying to say that this has to happen IN schools as part of the fabric of instruction.
The second piece was that there is a need to make our voices about integration heard- next year we will again suggest a session or at least a paper.
As for vocabulary Judith Scott allowed me to see today that we have abandoned at least partially the emphasis on wide vocabulary and focused on other aspects more- well more work to do- maybe in the next grant...
More tomorrow
Saturday, November 28, 2009
National Reading Conference
The conference starts next week in Albuquerque NM.
Two presentations target the intersection of literacy and the Arts both with book illustrators:
The following presentation is scheduled on Saturday, 12/05/2009, from 08:30 AM - 10:00 AM in Santo Domingo.
Two presentations target the intersection of literacy and the Arts both with book illustrators:
The following presentation is scheduled on Saturday, 12/05/2009, from 08:30 AM - 10:00 AM in Santo Domingo.
| Voice and Visions of Yuyi Morales: Award winning illustrator discusses her art | |
| Chair: | Jesse S Gainer, Texas State University - San Marcos |
| Discussant: | Mary Esther Huerta, Texas State University - San Marcos |
| This multimodal and interactive session will include an ethnographic interview of Yuyi Morales, an award-winning children’s literature illustrator, providing a “lived-through experience” for session attendees to explore the intersections of art, culture, history, and politics as manifested in her art. This session will feature the illustrator talking about her art while showing it. Facilitators will foreground connections relating to research methodology and data analysis in regard to scholarship pertaining to artwork in multicultural children’s literature. | |
The following presentation is scheduled on Wednesday, 12/02/2009, from 08:30 AM - 10:00 AM in Taos. Exploring the intersections of culture and art in the work of one award-winning children's books illustrator | |
Friday, November 20, 2009
Taking the Long Way Home
Our California second grade team has hit a snag recently. The project they were doing was taking too long- disrupting the normal pace and plan of the second grade classroom. They have in consultation with us (meaning those who do not carry the burden) about choosing to finish a long meaningful project instead of doing one more arts integration cycle.
At the same time a colleague of mine came back from watching a second grade classroom. She, who usually spends time in secondary classroom, reflected that the pace moving from one activity to the next was breath taking - and that she as a student would probably fail to thrive in that room because there was no time to think and act with deliberation. Although I do quick pacing as efficient for teaching some things (phonics for example). I did agree with her that curriculum and administration are often pushing teachers to divide their days into small chunks. The small chunks are not connected and so students do not connect them either and are thus left with many fragments of knowledge and procedures that are not well organized- and thus are quickly lost.
When we integrate the arts and ask ourselves and our teacher researchers to think in longer cycles we are disrupting this cycle. We are proud to be the disruptors....
At the same time a colleague of mine came back from watching a second grade classroom. She, who usually spends time in secondary classroom, reflected that the pace moving from one activity to the next was breath taking - and that she as a student would probably fail to thrive in that room because there was no time to think and act with deliberation. Although I do quick pacing as efficient for teaching some things (phonics for example). I did agree with her that curriculum and administration are often pushing teachers to divide their days into small chunks. The small chunks are not connected and so students do not connect them either and are thus left with many fragments of knowledge and procedures that are not well organized- and thus are quickly lost.
When we integrate the arts and ask ourselves and our teacher researchers to think in longer cycles we are disrupting this cycle. We are proud to be the disruptors....
Sunday, November 1, 2009
Summer Plans
The first is our literacy and arts integration class. It is the third time we are teaching this class and I am ecstatic that we have been able to sustain this effort and find a niche with new and experienced teachers. That mix has actually been great for everyone's professional development including mine. The experienced Monique Poldberg will be leading this class- one of the most reflective teachers I have ever had the pleasure of working with.
The second piece will be taught for the first time this summer at UNL. It is a week dedicated to Readers' Theatre. The week focuses on scripting in the curriculum and in depth understanding of how Reads' Theatre can be integrated into everyday curriculum and not just as an add on. For me drama is the easiest integration into the language arts and social studies curriculum- almost a gimme. The link is so natural that there is no wonder that despite partial evidence teachers find it useful. The class will be taught by Barbara Egbert- who is internationally trained and brings a broad understanding and classroom experience to the workshop.
Finally, a workshop about technology integration, led by Lance Poldberg closes the line. Lance approaches technology as an opportunity to engage students in making curriculum based media-integrated learning artifacts. It is an opportunity for elementary and middle school teachers to develop and experiment with technology- with an emphasis on meaning making and well fun.
As the plans take shape I will probably add detail...
Saturday, October 31, 2009
Time and Integration
As a classroom teacher, I am always balancing time -- what needs to be done, when it needs to be done and how long it all takes. Frequently my own timeline does not correspond with the students' timeline. It takes them longer or they finished faster than I anticipated. How often am I right "on the money"? When I consider different learners and learning styles and how I might differentiate instruction, time is a big variable.
I ask myself if the time spent was worth the benefit received. Or I might ask if there is a more efficient way to get from Start to Finish.
In the case of Arts Integration... how much time does one spend on each piece? Should it be equal? - Art Lesson - Content Lesson (i.e. Science, Social Studies) - Literacy Lesson -
Is the equation equal or one greater than the other for the greatest student success? If I spend 60 minutes each on art, content and literacy will the product from each be equal? If I spend 90 minutes on content lessons along 90 minutes on an art lesson and student art production and 90 minutes of language arts lessons and student writing workshops will that yield a better content understanding, an awesome art product and an equally amazing writing product than say the 60 minutes did? It really isn't always about minutes when it comes to students learning. Sometimes the going back and forth in a revision and editing mode (in either art or writing) may take pieces of days for our students. Will more time on an art product make it possible to spend less time on a writing product? Will less time on an art product require more time on a writing product? I believe that certain choices in each area will yield the greatest results.
Integration is a way to combine learning in more than one area, yet it still all has to be carefully crafted and then managed in the general classroom.
There is so much to teach and time is my challenge!
Sunday, October 25, 2009
A View from Outside
I have a graduate student who has arrived from China this Fall. I decided to bring her to our Fall professional development meeting as an observer. I was really interested in her view of the process and focus of the group. I of course think we're doing some very interesting and important things and that our group of teachers is outstanding- but does it come across?
Here is what she wrote in response:
It is a precious experience to attend such an eye-opening meeting. When I entered into the meeting room, what caught my eyes were teachers’ engaging in communicating and learning from each other, so earnestly and openly. It is the curriculum for the following several months. Music and arts teachers from two schools came here, worked together, and absorbed new ideas to improve the instructional efficiency. There are two amazing samples showing how to teach music and arts. For music, there are seven hollow beams which were equal to the seven music scales. Then seven kids each holds one beam standing for one music scale. To make music these kids should concentrate on his or her own role as well as working together with other kids harmoniously. It conveys the sense of cooperation, practice and deep impression of music. Brilliant! For the arts, two diverse oil paintings are presented. Kids are given these questions from simple to complex step by step, “what do you see?”, “where are they?”, “what are they doing?”, “why do you think so?” . These kids learn to read arts, from the paintings’ appearance to their essence, from outside to inside, from the gradual developing process. Since they’ve just gained the knowledge about the community, of course, their explanation and imagination about the two paintings has lots to do with community, which is accordance with the theory of schema. One of the kids was such a genius in answering these questions that it raised my concern about what family background he is from, and what he has learned. Would this ground be a backup reason for his outstanding performance? In all, these two examples are really vivid and explicit ways of instruction. Apart from the two examples, teacher Pat has presented us the previous achievement by giving an example about how a cute and smart boy understands the community. By putting kids directly into the real world is such a good idea. They can see and touch the statue of George Washington by themselves when hearing the legendary stories; they can feel the hot whether by standing in the sunshine during the hot summer day. Lost in the thought that kids in my country could also have such an experience, I wonder what would it be like? I am still curious about other kids’ situation and comprehension, which may be unnecessary or futile. The main topic for the next few months is life cycle-- to inform children the basic knowledge about animals, environment, cooperation and skills for how to survive in the wild nature. What I can see is an integration composed by arts and reading, intertwined into each other. Almost everything is perfect and indeed it helps to promote students’ motivation in study and easy students’ development in literacy. I had tried to find the difference between this and my country’s education, which emphasize more on science. Eighteen out of twenty classes were science classes in my high school, and those two arts classes were for those students who cannot go though science class. People had slightly prejudice over arts, considering it of a little practical use and low payback investment. The phenomenon also exist my friend’s country, Chad, Russia, developing countries. Developing country needs to consider the economic factors more for advancing. Still, there is a long way to go before educational systems learn from each other. And yet, what I see is a whole world of arts and reading, almost no science (I even ask Jean why, which is kind of silly of me). Is that because this is the meeting about arts and literacy? I think kids here begin their study about science a little late. Arts and literacy should be considered to be an integral body, and if science is in parallel with arts and literacy’s tempo, then arts, literacy and science would be a better integration too, or interdisciplinary integration. I believe the two hemispheres of the brain need balanced development for uncovering potentials of kids. The end of education here comes out to be the best around the world now, but that does not mean that it has no space to improve. I remember that my high school teacher has said that once a kid is very good at English and math, he probably will be qualified for university. This has been a belief of mine during these years, and I would tell every parent the “truth”. English and math is really opposite and hard discipline in my country. Math classes involve a lot basic knowledge such as probability, geometry, functions, and calculus. And English is a totally different language system. If we believe that “it is too early” or expect children to learn “when they need to”, we may miss the optimal period. Of course, we should not push them and we do not want to. Maybe we just need to think about it, and that is all. Well, in short, it is such a meaningful experience for me. It is like I incidentally fall into a circle full of great ideas.
Here is what she wrote in response:
It is a precious experience to attend such an eye-opening meeting. When I entered into the meeting room, what caught my eyes were teachers’ engaging in communicating and learning from each other, so earnestly and openly. It is the curriculum for the following several months. Music and arts teachers from two schools came here, worked together, and absorbed new ideas to improve the instructional efficiency. There are two amazing samples showing how to teach music and arts. For music, there are seven hollow beams which were equal to the seven music scales. Then seven kids each holds one beam standing for one music scale. To make music these kids should concentrate on his or her own role as well as working together with other kids harmoniously. It conveys the sense of cooperation, practice and deep impression of music. Brilliant! For the arts, two diverse oil paintings are presented. Kids are given these questions from simple to complex step by step, “what do you see?”, “where are they?”, “what are they doing?”, “why do you think so?” . These kids learn to read arts, from the paintings’ appearance to their essence, from outside to inside, from the gradual developing process. Since they’ve just gained the knowledge about the community, of course, their explanation and imagination about the two paintings has lots to do with community, which is accordance with the theory of schema. One of the kids was such a genius in answering these questions that it raised my concern about what family background he is from, and what he has learned. Would this ground be a backup reason for his outstanding performance? In all, these two examples are really vivid and explicit ways of instruction. Apart from the two examples, teacher Pat has presented us the previous achievement by giving an example about how a cute and smart boy understands the community. By putting kids directly into the real world is such a good idea. They can see and touch the statue of George Washington by themselves when hearing the legendary stories; they can feel the hot whether by standing in the sunshine during the hot summer day. Lost in the thought that kids in my country could also have such an experience, I wonder what would it be like? I am still curious about other kids’ situation and comprehension, which may be unnecessary or futile. The main topic for the next few months is life cycle-- to inform children the basic knowledge about animals, environment, cooperation and skills for how to survive in the wild nature. What I can see is an integration composed by arts and reading, intertwined into each other. Almost everything is perfect and indeed it helps to promote students’ motivation in study and easy students’ development in literacy. I had tried to find the difference between this and my country’s education, which emphasize more on science. Eighteen out of twenty classes were science classes in my high school, and those two arts classes were for those students who cannot go though science class. People had slightly prejudice over arts, considering it of a little practical use and low payback investment. The phenomenon also exist my friend’s country, Chad, Russia, developing countries. Developing country needs to consider the economic factors more for advancing. Still, there is a long way to go before educational systems learn from each other. And yet, what I see is a whole world of arts and reading, almost no science (I even ask Jean why, which is kind of silly of me). Is that because this is the meeting about arts and literacy? I think kids here begin their study about science a little late. Arts and literacy should be considered to be an integral body, and if science is in parallel with arts and literacy’s tempo, then arts, literacy and science would be a better integration too, or interdisciplinary integration. I believe the two hemispheres of the brain need balanced development for uncovering potentials of kids. The end of education here comes out to be the best around the world now, but that does not mean that it has no space to improve. I remember that my high school teacher has said that once a kid is very good at English and math, he probably will be qualified for university. This has been a belief of mine during these years, and I would tell every parent the “truth”. English and math is really opposite and hard discipline in my country. Math classes involve a lot basic knowledge such as probability, geometry, functions, and calculus. And English is a totally different language system. If we believe that “it is too early” or expect children to learn “when they need to”, we may miss the optimal period. Of course, we should not push them and we do not want to. Maybe we just need to think about it, and that is all. Well, in short, it is such a meaningful experience for me. It is like I incidentally fall into a circle full of great ideas.
Monday, October 19, 2009
Mike on Ken Robinson
I teach an undergraduate literacy methods block for Elementary teachers and in it my students are asked to reflect weekly on hat weeks readings and their classroom observations. I do allow them occasionally to deviate if they find a topic that is particularly appealing to them.
About a week ago Mike wrote this piece in response to a Ken Robinson piece (I am publishing this with his explicit permission):
"I'd like to take this opportunity to depart from the traditional format of the blogs and comment on something else. A friend of mine recently showed me this link:
http://www.ted.com/talks/lang/eng/ken_robinson_says_schools_kill_creativity.html
In the video, Ken Robinson talks about the nature of our education system. He says that our educational system is far too linear. We start kids off in elementary school preparing them for middle and high school where we then prepare kids for college. All of this is designed so that the kids end up getting a degree and can thereby be successful in the world. Robinson argues that it was a great idea back when college degrees were comparatively rare to high school diplomas, but today, we have a higher percentage of people going on to get their degrees than ever before. As such, a bachelor's degree is not what it used to be. So if everyone has a degree, what more can we do with education to keep improving? Robinson's answer is creativity. He says that we need to teach kids to embrace creativity rather than cut our arts and music programs from the school's curriculum.
I like what Robinson had to say, but I think he overlooked some key aspects of education. Yes, more and more people are going on to get their degrees in post-secondary education. And yes, it would be really smart to teach those graduates to be more creative and well rounded. But what about the students we have to specifically tailor our instruction around? Special needs students present some of the greatest challenges to us as teachers. I feel like Robinson completely glossed over this very substantial, important group of people. It's naive to think that our current education system is great if not for it's lack of emphasis on creativity. Yes, we're sending more kids off to college than ever, but we still have a lot of work to do with educating every one of our students. Belmont, especially, has driven this point home for me"
Mike's comments contextualize what many teachers are thinking, namely that before we attend to creativity there is a lot of other work to be done. I wholeheartedly agree with Mike that we are not yet great at teaching all children what they need to be full citizens. On the other hand there seem to be an underlying assumption that creativity is the cherry, like higher order thinking or comprehension instruction something that comes after skills.
This is the danger that talks about the big C can lead to- the fact that teachers, administrators and parents worry about regular everyday capabilities and rightly so. The little dancer from Robinson'sstory would be a heartwarming story if she grew up to be a world class dancer- but we all know the chances are slim. We need a Ken Robinson who follows up and says and look how we can use her dancing to enhance her learning so she feels empowered to learn and we to teach through it- so she can be successful in everything she chooses to be engaged in.
Tuesday, October 13, 2009
The big C the big I and Diversity
We had a grant meeting in DC last week for currently funded AEMDD and AEPD grants (alphabet soup and a mouthful). It was great being back in a room that included so many people who are facing similar challenges, concerns and joys. The fairly large group spent the better part of the day working in small groups which was a very productive choice. The ability to talk to each other and further our understanding and action was exceptional.
On the positive side we really could be moving forward in our agenda and the ways we integrate the work we do. At the same time I think that lurking under the surface are some meaningful differences. These are differences that we danced around at the meeting but may actually reveal fairly significant divisions in approach.
In my mind it is the big C (creativity) and big I (Integration) groups. I am a big I person- for me it is all about integration. I do not mean that I do not care about creativity, nor that I do not think pure learning in the arts is not important. Instead it is simply not what I do. I support learning in the arts in schools (kids in drama and instrumental music) and need be will fight for it- but when I write, think and teach it is all about integration.
Hopefully we will come out of this year with a conference and possibly publications that will openly discuss some of these approaches and generate some new (or old) insights and ideas for research, advocacy, and most importantly educational practice!
Wednesday, September 16, 2009
Revision
Today I taught a well thought-out and planned art lesson. I had even created the project myself in advance for a sample. I had worked with colleagues in the planning process. However, after the direct instruction part of the lesson, when I watched the students work and create, I realized there were many things I did not think about! The students weren't really unhappy with their work, but I knew their potential was far from reached, at no fault of theirs.
At recess I brought my next-door colleague over to examine the work and listen to some of my comments. She had been part of the planning process with me and was in a good position to help me analyze where things went "wrong" or at least "not as I thought they should." I realized in both my "internal" and "external" conversations that there were many things in my lesson I could have done differently. I could have explained the use of the media more clearly. The examples I gave should have been more thoughtfully discussed and analyzed. I also needed to break down the sequence of creation in smaller steps for greater understanding and incremental success.
So... I decided that we frequently talk about drafts and revisions in writing with students, so I was going to go back to my second graders and explain that we were also going to do that with our art. I was revising my lesson to make it better for them and they were going to get to revise their composition. In both cases (mine and my students') we didn't "waste" the first hour, but rather learned by doing, learned from our mistakes or wrong turns and came out with a better lesson and better product.
My students were thrilled with their work and I was happy to have had the time to re-do it right then. The details were fresh in my mind and my motivation was high to try again. Revise and edit. Practice makes better.... for both the teacher and the learner.
At recess I brought my next-door colleague over to examine the work and listen to some of my comments. She had been part of the planning process with me and was in a good position to help me analyze where things went "wrong" or at least "not as I thought they should." I realized in both my "internal" and "external" conversations that there were many things in my lesson I could have done differently. I could have explained the use of the media more clearly. The examples I gave should have been more thoughtfully discussed and analyzed. I also needed to break down the sequence of creation in smaller steps for greater understanding and incremental success.
So... I decided that we frequently talk about drafts and revisions in writing with students, so I was going to go back to my second graders and explain that we were also going to do that with our art. I was revising my lesson to make it better for them and they were going to get to revise their composition. In both cases (mine and my students') we didn't "waste" the first hour, but rather learned by doing, learned from our mistakes or wrong turns and came out with a better lesson and better product.
My students were thrilled with their work and I was happy to have had the time to re-do it right then. The details were fresh in my mind and my motivation was high to try again. Revise and edit. Practice makes better.... for both the teacher and the learner.
Sunday, August 23, 2009
Interest and the Arts
A colleague in a recent meeting passionately described the importance she places on teacher candidates focusing on something they find interesting at the core of their integrated lesson plan. The guiding idea is that our students (future teachers) will find this approach motivating and rewarding and thus will be engaged at a much higher level.
The parallel for me is working with elementary students and my own children. General interest is a very problematic concept as we find ourselves and our students engaged in a topic that they have no apriori interest in. Despite this apparent lack of initial we can engage and motivate enough interest to foster learning- also known as situated interest. This is especially true of elementary teachers who teach many different subjects.
This concept is crucially important since curricula are determined by standards, assessments, and group decision making. Neither students not teachers can afford to be engaged only in what they find initially interesting, thus we need to teach future teachers how to become engaged outside their area of interest and find the interesting and "cool" and exciting aspects of these topics- just like we expect our children to do.
This is very important in arts integration. Engaging future teachers in arts integration is a very important tool that we must promote since they will see very little of it in their schools as they start teaching. My fear is that by focusing on topics that they are excited by we are actually reinforcing the idea of arts integration as a fun but too rigorous activity. One that you engage with when teaching (or learning) a favorite topic in which you are already highly engaged- not the everyday humdrum topic.
The image in the blog was created by a graduate student on a visit to a natural history museum. The students were not motivated in learning science before the visit to the museum but the process and the museum itself created enough situated interest to generate engagement and thus learning.
Arts integration can be helpful in many areas and domains and its success is partially related to arts as an engagement strategy- thus a less effective strategy if the topic is already highly engaging. Ultimately, in the elementary years we teach many topics that we are marginally interested in, we develop situated interest. Arts integration is a way of developing such an interest and not just when we as a teacher are excited about our favorite topic.
The parallel for me is working with elementary students and my own children. General interest is a very problematic concept as we find ourselves and our students engaged in a topic that they have no apriori interest in. Despite this apparent lack of initial we can engage and motivate enough interest to foster learning- also known as situated interest. This is especially true of elementary teachers who teach many different subjects.
This concept is crucially important since curricula are determined by standards, assessments, and group decision making. Neither students not teachers can afford to be engaged only in what they find initially interesting, thus we need to teach future teachers how to become engaged outside their area of interest and find the interesting and "cool" and exciting aspects of these topics- just like we expect our children to do.
This is very important in arts integration. Engaging future teachers in arts integration is a very important tool that we must promote since they will see very little of it in their schools as they start teaching. My fear is that by focusing on topics that they are excited by we are actually reinforcing the idea of arts integration as a fun but too rigorous activity. One that you engage with when teaching (or learning) a favorite topic in which you are already highly engaged- not the everyday humdrum topic.
The image in the blog was created by a graduate student on a visit to a natural history museum. The students were not motivated in learning science before the visit to the museum but the process and the museum itself created enough situated interest to generate engagement and thus learning.
Arts integration can be helpful in many areas and domains and its success is partially related to arts as an engagement strategy- thus a less effective strategy if the topic is already highly engaging. Ultimately, in the elementary years we teach many topics that we are marginally interested in, we develop situated interest. Arts integration is a way of developing such an interest and not just when we as a teacher are excited about our favorite topic.
Sunday, August 16, 2009
Where does art integration reside?
Art integration happens on many levels. From the federal grants and policies all the way into the water color brush in the student's hand. But, the work we've done over the last eight years, the research, the observations in classrooms and assessment of student performance all point in one direction. Arts integration is a classroom phenomena and it resides in the details- the how of that classroom practice.
All art educators and most writing ones have for decades focused on process. Our conclusion is very much the same- process is at the heart of what we do. We work with our teachers on transforming their practice- the processes that they use to enable student learning, the processes they use to teach. This is not a one way street because every time we interact with a teacher thinking about their process we learn something ourselves that changes the way we work with that teacher but also with the ones that come after her.
At the same I do not want to imply that we must be present and understand everything about the process to understand the product. In many ways the analysis of products: writing, visual art, and music over the past eight years have confirmed the fact that the products correspond to the process. That is you can judge the quality of classroom practice by the products.
Without an understanding of the process, however, you cannot pin down the reasons for the outcomes. As a result a good evaluation and research must include a clear look at both.
As this administration focuses, and rightly so, on teacher performance and development it is useful to remember that it is the details that count.
All art educators and most writing ones have for decades focused on process. Our conclusion is very much the same- process is at the heart of what we do. We work with our teachers on transforming their practice- the processes that they use to enable student learning, the processes they use to teach. This is not a one way street because every time we interact with a teacher thinking about their process we learn something ourselves that changes the way we work with that teacher but also with the ones that come after her.
At the same I do not want to imply that we must be present and understand everything about the process to understand the product. In many ways the analysis of products: writing, visual art, and music over the past eight years have confirmed the fact that the products correspond to the process. That is you can judge the quality of classroom practice by the products.
Without an understanding of the process, however, you cannot pin down the reasons for the outcomes. As a result a good evaluation and research must include a clear look at both.
As this administration focuses, and rightly so, on teacher performance and development it is useful to remember that it is the details that count.
Sunday, August 9, 2009
A New Academic Year
As August unfolds we face a new academic year. With it a realization that we have to continue to explore ways to bring the arts into classrooms. The promise of a new administration with a different agenda that may help us in classrooms has dissipated. We are faced again with the fact that most of the publi wants the arts in school but consider them secondary to everything else. They are a great addition but also the first thing to go when budgets and time need to be allocated carefully. Thus, we are left in a constant effort to maintain and expand our efforts to teach in and through the Arts.
On our home front in the project we still have a group of teachers that are as committed as ever. All of our indicators show that working on this project empowered teachers as true professionals and helped teachers develop as professionals. We are working on a book highlighting the connected units that our teachers created. As this is a second hand report I will ask Nancy A. to post a little more about it.
The most important thing is that in our last year of funding we are not losing steam, in fact we are gaining momentum.
A thought: We create art to amplify the memory trace of our emotions and to share them with others.
On our home front in the project we still have a group of teachers that are as committed as ever. All of our indicators show that working on this project empowered teachers as true professionals and helped teachers develop as professionals. We are working on a book highlighting the connected units that our teachers created. As this is a second hand report I will ask Nancy A. to post a little more about it.
The most important thing is that in our last year of funding we are not losing steam, in fact we are gaining momentum.
A thought: We create art to amplify the memory trace of our emotions and to share them with others.
Wednesday, August 5, 2009
Transition Back
I’m back at home, reflecting on the month of July and thinking about when and how to share the things I’ve learned. I’ve already made a presentation to one group during our district’s staff development days, but a few other ideas are percolating. I’ve got a supportive team around me, so things will get going with their help. I think the hard part will be making time to plan for one “big” event, so I’ll concentrate on one grade level at a time. Think anyone will voluntarily come?
Tuesday, July 28, 2009
I am surrounded here by a depth and breadth of knowledge and experience. Yet we are all learning and noticing things that we may have “walked by” before. The architectural detail, the story within the painting, the artist’s and architect's connection with the community, even the wallpaper!! We have spent our weekdays in class and related field trips and on the weekends we go together or alone and do more touring and learning about this part of the country. There really is not too much down time!
I’ve tried to get a chance to talk with each one of my fellow NEH'ers over the last 3 ½ weeks. About half are from New England and half from the rest of the country. They will be an inspiration and a resource to me after I leave here. We are all busy preparing final presentations for Thursday and Friday. I look forward to hearing from my new-found colleagues. This really has been an experience of a lifetime. (Although maybe that’s not the way to say it because I want to apply for another one when I’m eligible in three years!)
Friday, July 24, 2009
Wow…this week has zipped by!
This institute has been a wonderful example of scholarly rigor. The presenters/scholars share with us what they know, back it up with references and THEN we get to see the REAL THING in person! This week we talked about landscape and literature. The Hudson River school of artists and authors such as James Fennimore Cooper and Henry Thoreau were introduced to me. We traveled to the Wadsworth Atheneum in Hartford, Connecticut to experience the paintings in person. Much of the information was in greater depth than I can recall, but the connections between the literature and the art of the time are evident. I knew what I was looking at and had a sense of being in the presence of an artifact of history. There really is sooooo much more to a painting than originally meets the eye at first or quick glance!
Works of Art
A Salem State creative writing professor came to our class one day this week and presented a wonderful lesson on poetry! We were active participants in a lesson that I will some day replicate in a form for second graders. His “quotable quote” to me was … “A work of art (writing, painting, music) is a way of organizing your world and what you’ve learned.”-- JD Scrimgeour.
I think I need to do more art!
I think I need to do more art!
Sunday, July 19, 2009
Reading for class and for my unit. Landscapes will be a topic that our week will begin with. Took in the local landscape yesterday: the northeastern seacoast. Went to two different art museums today… one contemporary and one (old) European. Vastly different … light compared to dark, large spaces compared to small spaces. Working on my assignment (a unit).
Wednesday, July 15, 2009
Presidents
I will never teach “President’s Day” the same way! Even at second grade the students know about Lincoln, a log cabin and the penny; Washington as the father of our country. But what do the presidential portraits reveal about the person and the office! Next February I will teach using resources from the National Portrait Gallery and the Smithsonian Institution. Last Friday we were enriched with the knowledge of yet another expert, Ellen Miles, from the NPG. The connections between the portrait, the person and the office were enlightening and fascinating We followed the content with actual doing. We were led in an art-making (self-portrait) lesson with a member of Lesley University’s art education faculty. I REALLY liked this part. I think we should do the art-making more often in this institute, but that’s my bend. It would probably raise the affective filter for some of my colleagues here.
Thursday, July 9, 2009
Connections
I am surrounded by history! Yesterday we toured a federal period house as well as the Salem Custom House. Nathaniel Hawthorne worked there.
Also these last two days we have visited museums and have received welcomes and presentations from their education departments. Representatives of both institutions made it clear that they value working with educators and want to make their collections useful to us. Many, including these museums, have great resources in person and online both. Yesterday was the Peabody Essex Museum in Salem and today was the Worcester Art Museum in Worcester. At the PEM we completed activities related to using objects… observe, write, share. At the WAM she told us about the studio wing of their museum and how they strive to make a connection between looking at art and making art. Both are strategies that we encourage using in our Arts LINC classrooms. At the PEM I saw a “Panorama of a Whaling Voyage” (ca. 1860) --- a wooden stage with scrolling screens. It was a colonial version of Kamishibai. At the WAM I saw a Thomas Hart Benton “Corn and Winter Wheat” that will be a good landscape to show my students for during our Field to Table unit. We are seeing works of artists represented in the Picturing America poster sets that many schools across the country received from the NEH. Today we also saw the “real” Paul Reverse silver tea set too!
Connections, connections, connections.
Tuesday, July 7, 2009
Picturing America Institute
I am participating in a Picturing America National Endowment of the Humanities Teacher Institute this month at Salem State College in Salem, Massachusetts. I arrived on July 4 and it started on Sunday, July 5. It will be four weeks of listening, learning, sharing, observing, participating, and integrating visual art, language arts, and history! We have started off at a running pace! It is wonderful to have the opportunity to work with curricular specialists and others who have worked with integration in different settings. The faculty that has been assembled to lead us through these weeks already has my mind going in many directions. Their expertise both individually and collectively is amazing. I will need to narrow down some of my thoughts for a project, but for now I’m taking it all in and it’s comfortably spinning in my brain! This really is incredible! I’m thankful to have received this opportunity!
Tuesday, June 9, 2009
Peace
We have a class of practicing and future teachers who are all learning about arts integration into the elementary classroom right now. The focus is the prairie and its' enveloping sense of place. As they are composing their narratives I am writing for the blog. As I/we teach this class I have this uncomfortable feeling. I am not as much in control as I'd like to be. It is a disconcerting feeling but in many ways it is good for me, for this is what I ask the teachers around me to do- get out of your comfort zone and try something else. Stay in this place where you are not in total control and be ok with it. We plan the lessons around the big ideas of integration but the truth is we do not know how it will come out, what will fall flat and will succeed.
This morning we stepped into the prairie in Spring Creek right outside Denton. We spent close to two hours walking around taking photographs. Slowly as time progressed we hushed fanned out and spent time connecting with the surroundings- with photographs as the focal lens. The mood was muted and perfect for sensing and focusing on emotions. We took the risk and the time... Still there is a lot to do to help these practicing and future teachers as well as ourselves make connections and link all of this to actual classroom instruction.
It would be great to examine these experiences as they develop, my guess is that my concerns and feelings are not unique.
This morning we stepped into the prairie in Spring Creek right outside Denton. We spent close to two hours walking around taking photographs. Slowly as time progressed we hushed fanned out and spent time connecting with the surroundings- with photographs as the focal lens. The mood was muted and perfect for sensing and focusing on emotions. We took the risk and the time... Still there is a lot to do to help these practicing and future teachers as well as ourselves make connections and link all of this to actual classroom instruction.
It would be great to examine these experiences as they develop, my guess is that my concerns and feelings are not unique.
Friday, May 22, 2009
Another Denver Airport post: Creative Teachers
We had our end of the year meetings in both sites over the last 10 days, Nebraska and California. As Monique, Nancy and I discussed the energy and immense productivity we saw in the meeting we started recognizing how uniquely creative and collaborative our teachers are. Our approach focuses on key ideas while letting teachers create their units and variations. The idea is that fidelity is to core ideas and not a prescribed lesson. Our principles are about process, thinking and integration. Our teachers have become amazing at using this platform to be creative. Even though grades have created units together the products were often different in meaningful ways. For example all second grades created a stamp as one assignment- but those were not uniform in the classes- showing that kids are creative, not between classroom showing that teachers are creative. More than that they UNDERSTAND what are the key ideas and where they can be creative and create variations that reflect their classrooms, individuality and skill/ comfort level.
As a researcher this has cost me much- and they are constantly aware of the research asking " we don't want to screw up the data". But the results are exactly what we wanted- implementation that is powered by teachers, sustainable, meaningful. For a second there I thought - if I had to retire right now, I would have retired happy.
If we want a creative generation we need to let teachers be creative! For that to happen professional development must provide the space for teacher creativity to emerge.
As a researcher this has cost me much- and they are constantly aware of the research asking " we don't want to screw up the data". But the results are exactly what we wanted- implementation that is powered by teachers, sustainable, meaningful. For a second there I thought - if I had to retire right now, I would have retired happy.
If we want a creative generation we need to let teachers be creative! For that to happen professional development must provide the space for teacher creativity to emerge.
Monday, May 18, 2009
More Thoughts about Creativity
Before I start I'd like to send a hello to Regina Murphy of Ireland, and invite her to contribute to the blog (let me know and I'll set this up). I never intended this blog to be a one person act and what Regine is doing I find extremely interesting (I'll let her tell about it...).
In my last post I focused on skill as a part of creativity and potentially a filter for measuring "higher order" processes.
The question stays- what is creativity? My understanding is still evolving and this blog seems to be one of the places I do my thinking, so here goes:
Creativity has a strong creative domain component- like expertise in any field it is highly contextualized. If you are a sculptor a painter or a mathematician your deep understanding of your field is part of being creative or it at least a necessary but not sufficient condition. Such domain knowledge is what enables the artist (and I use this term to include anyone attempting to create an art product) to translate a vision, intent to a product. As Mike Jackson explained to me [I am paraphrasing] For me creativity is when I can translate what I see in my mind on the paper, then it is a good product. I care about the process the most, once it is done I stop being engaged.
Yet, people who describe themselves (or by others) as creative seem to be able to carry some of their creativity with them into new domains explore them and finally be engaged with them in full. Looking at the Universal Learning Model that my colleagues and I are focusing on- creativity becomes a multi-dimensional construct that combines several aspects of learning. The first is knowledge of the domain, most important is procedural knowledge that drives the creative process itself. Second is focus- single minded focus of attentional resources (i.e. working memory) to the task at hand. It is the experience of Flow or just extreme focus on the work that is often romantically portrayed. Finally and maybe the characteristic that most often helps the artist transcend a creative genre and learn a new one- Motivation.
The most universal feature of creativity is motivation. Motivation directs attention and allows the focus described above, which in turn leads to learning of new knowledge of the domain and most importantly the process. In motivation I think the most important features are slef-concept, seeing one's self as an artist or creative person. The second is the longing for complete engagement or flow. I think that once you develop Flow, you constantly search for it. And if you cannot find it you look for new domains in which you can re-experience it. Oliver Sacks describes such a case in "The Case of the Colorblind Painter". A desperate search by the artist for the way to rediscover flow probably the experience that ancient artists used to describe as the presence of a muse.
More later
In my last post I focused on skill as a part of creativity and potentially a filter for measuring "higher order" processes.
The question stays- what is creativity? My understanding is still evolving and this blog seems to be one of the places I do my thinking, so here goes:
Creativity has a strong creative domain component- like expertise in any field it is highly contextualized. If you are a sculptor a painter or a mathematician your deep understanding of your field is part of being creative or it at least a necessary but not sufficient condition. Such domain knowledge is what enables the artist (and I use this term to include anyone attempting to create an art product) to translate a vision, intent to a product. As Mike Jackson explained to me [I am paraphrasing] For me creativity is when I can translate what I see in my mind on the paper, then it is a good product. I care about the process the most, once it is done I stop being engaged.
Yet, people who describe themselves (or by others) as creative seem to be able to carry some of their creativity with them into new domains explore them and finally be engaged with them in full. Looking at the Universal Learning Model that my colleagues and I are focusing on- creativity becomes a multi-dimensional construct that combines several aspects of learning. The first is knowledge of the domain, most important is procedural knowledge that drives the creative process itself. Second is focus- single minded focus of attentional resources (i.e. working memory) to the task at hand. It is the experience of Flow or just extreme focus on the work that is often romantically portrayed. Finally and maybe the characteristic that most often helps the artist transcend a creative genre and learn a new one- Motivation.
The most universal feature of creativity is motivation. Motivation directs attention and allows the focus described above, which in turn leads to learning of new knowledge of the domain and most importantly the process. In motivation I think the most important features are slef-concept, seeing one's self as an artist or creative person. The second is the longing for complete engagement or flow. I think that once you develop Flow, you constantly search for it. And if you cannot find it you look for new domains in which you can re-experience it. Oliver Sacks describes such a case in "The Case of the Colorblind Painter". A desperate search by the artist for the way to rediscover flow probably the experience that ancient artists used to describe as the presence of a muse.
More later
Thursday, May 7, 2009
On Being Skillful
We often disregard the skills. We want kids to think (adults too for that matter). As we try to measure things like creativity, we try to avoid the skill threshold or work around it.
I am like that too to a certain degree. But, as I think about these constructs I strongly believe that creativity, intelligence, and learning are all deeply embedded in domain knowledge and a threshold of skills that allow you to engage meaningfully with the the subject matter.
In other words, Tiger Woods that cannot putt well is just a golf bum who thinks a lot about the game, Einstein without his knowledge of math is just a crazy dude sleeping on a park bench. Before we disregard skills in favor of other "higher order" thinking we must remember that when Bloom created his taxonomy he did not mean that knowledge is not as important as any other level in his hierarchy.
Sooooo, my point is that teaching skills and measuring them should not be disregarded. Moreover, if we intend to measure any higher order thinking about these things- creativity, interpretation. We must also measure skills- to make sure that skills are not the filter that mediates what we measure. If we do not, what we claim is creativity may just be a proxy to skill level and out of school experiences.
In fact, I would argue that the only way to reliably measure creativity is a dynamic assessment in which students are first provided a meaningful context to work in and provide content knowledge and then their actions with these building blocks are measured.
I am like that too to a certain degree. But, as I think about these constructs I strongly believe that creativity, intelligence, and learning are all deeply embedded in domain knowledge and a threshold of skills that allow you to engage meaningfully with the the subject matter.
In other words, Tiger Woods that cannot putt well is just a golf bum who thinks a lot about the game, Einstein without his knowledge of math is just a crazy dude sleeping on a park bench. Before we disregard skills in favor of other "higher order" thinking we must remember that when Bloom created his taxonomy he did not mean that knowledge is not as important as any other level in his hierarchy.
Sooooo, my point is that teaching skills and measuring them should not be disregarded. Moreover, if we intend to measure any higher order thinking about these things- creativity, interpretation. We must also measure skills- to make sure that skills are not the filter that mediates what we measure. If we do not, what we claim is creativity may just be a proxy to skill level and out of school experiences.
In fact, I would argue that the only way to reliably measure creativity is a dynamic assessment in which students are first provided a meaningful context to work in and provide content knowledge and then their actions with these building blocks are measured.
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