Visual Art with Struggling Readers and Writers

This summer I spent nine weeks in our reading center working with pre-service teachers who tutor struggling readers and writers. I love the work but what struck me was how effective visual art supports were.
One student A.S. was a student headed for second grade but having significant delays in achievement and some challenging behaviors to boot. The most challenge was getting A.S. To write. We were lucky to get more than a short sentence. I then suggested starting with a drawing. Now A.S. was more easily engaged, persisted, produced a picture, contributed significant oral language about the picture but still wrote very little. Finally we decided to insist on details during the art creation. In addition we modeled a questioning technique that exposed A.S. to ways of generating text. This time his writing filled a page and was full of detail and interest.
I truly belive that for young writers this link is foundamental and will help all writers do well- as we have seen in our work in Arts LINC.

Composition- Teaching Creativity and Problem Solving

A few weekends ago Kurt and I found ourselves in a Uhaul truck moving furniture. Kurt as is his habit levels a multi-layered question in a matter of fact way. This is in no way a direct quote but the essence of the question was How do you teach and evaluate [musical] composition at the graduate level? What I love about Kurt is that he asks this just as if he was asking "Should we make a right here?" That is while the question is complex it is also very concrete in his mind (and mine I think).
Anyway this post are some of my thoughts about the topic that applies directly to creativity in other domains and has clear parallels in the writing process and in visual arts. I borrow here from Ken Robinson and define creativity as the process of having original ideas that have value. In the context of education as a process I think that most often creativity is about finding novel solutions to meaningful problems. The problems themselves can be defined by an educator or the learner. When teaching composition, writing or visual arts this definition holds, and one can see how we can ask students to create in a familiar style or form (say painting a still life picture or writing a Haiku) making it uniquely our own by identifying the problem and providing a solution to it. In a sense teaching writing is very much just that. Lucy Calkins coined the phrase "Teach the writer not the writing" (I am actually borrowing it from Evi who is one of the best teachers of writing I know) which I take to mean there is no one uniform way to go through a program, instead as educators we must allow room for learners to define their own problems and find solutions to them. In a way teaching creativity is about teaching our students to identify problems, learn how others solved similar ones and then coming up with their own solution.
This is exactly the reason that I believe there is no universal creativity factor but instead expertise leading to creativity in a specific domain. The process in broad strokes has parallels but the details are often too different. For example I have no capacity to identify problems  in [music] composition , but I am extremely capable of doing that in educational research (it is a strange field to be creative in I know).
The area that has the most to offer I think for educators interested  in developing the ability to compose is Teaching Writing. You must decipher the parallels of course and the elements that are uniquely linked to writing but I still believe that it is useful.
A place to start might be:
The work of Lucy Calkins, Linda Flower, and unl's own Robert Brooke.

Twenty First Century Learning

We are here at the beginning of the second decade of the 21st century and yet the "we" of education and teacher  education has not arrived. I retweeted some interesting comments recently (@tgite) about this phenomena so I will not go back into it. Instead I choose to imagine here what a Masters level program around 21st century learning might look like.
The drive is to provide an interesting, relevant, flexible "just structured enough" experience. It makes me giddy with anticipation!
1. Creativity- a class on current view on creativity that will include the work of Pink, Robinoson, Csíkszentmihályi, Gardener, Eisner. (this one is all mine)
2. Problem Based Learning
3. Teaching and Learning in Digital Environments (currently taught by my colleague, friend, and web based education pioneer D. Brooks)
4. Action Research Methods for the Digital Classroom
5. Arts Integration in K-16 environments (a class we have been teaching at UNL for the past 5 years or so)
6. Teaching as an aesthetic text (a fantastic class by M. Latta)
7. Assessment in rich environments


As I was looking for images it occurred that we are once again turning to the Renaissance Man: Leonardo Da Vinci as an ideal, part scholar, part scientist, part engineer and part artist. 


Welcoming any comments, this may very well turn into a reality soon!

Parallels

This week I had the opportunity to consult informally with a local educational leader (I would use names, but I did not ask for permission so ... maybe another time). The Discussion focused on ways to implement and measure professional development in social studies education with an emphasis on American History in elementary schools. While it has been a while since I taught history (15 yrs to be exact) the knowledge I brought to the table was actually related to the work we've done in Arts LINC. Interestingly Nancy A., my long time collaborator in Arts LINC, is now a project director in a Teaching American History Grant.
The parallels between the two domains are uncanny. In the past decade, social studies in the elementary schools have been declining, despite the fact that it was one of No Child Left Behind "Core Subjects". The bottom line was that social studies were not tested at the elementary level and thus less and less attention, time and resources were directed at them over time. Social studies curriculum leaders find themselves needing to convince others that social studies matter for all students and that understanding of history can have added benefits to other domains through integration and 21st-century learning. In short they present an argument not much different than the one we presented over a decade ago in arts integration. Luckily, I could bring to the discussion our lessons of making integration work. So here they are:

1. Partner with teachers as co-researchers.
2. Allow for leadership opportunities and encourage initiative
3. Measure teacher implementation and student achievement and provide short feedback cycles of results
4. Integrate into existing curriculum (do not add instructional units), let teachers decide where and how much
5. Set clear yet flexible criteria for quality that will become your fidelity checks
6. Develop teacher's knowledge base/ model lessons
7. Visit teachers to teach and learn

Hedonic Adaptation and the State of the Arts

In his recent book Dan Ariely discussed Hedonic Adaptation, the ability of our mind to adjust to new baseline conditions. An example of short term adaptation is a smell that initially overwhelms us but after some time becomes tolerable and eventually recedes into the background. ariely claims that the Hedonic adaptation to larger changes is about 6 months (e.g. for a new car to not feel to us new anymore). I would like to stretch the concept to the idea of societal hedonic adaptation- when our expectations as a society and culture shift and a new baseline is created. A good example that jumps into my mind is the phenomena that has always fascinated me, the semblance of "normal" life in the height of the ghetto period during the holocaust. The idea that even under horrific conditions Jewish society maintained a new normal with social events, music, art, organization and celebration of life cycle events. Against all claims that our evil nature emerges when the thin veneer of civilazation is scraped by circumstance. That ability of society to adapt through the individual ability of hedonic adaptationcan be a blessing and a curse.
When I think about education I fear the same Heonic adaptation. We get used to excessive pointlessy invalid unreliable testing (see Berliner's post on that recently). So what oes that have to do with a blog about arts integration? As I was reading Ariely's book it occured to me that we have generation growing up with very little to no art in school, heck in the elementary years there is in some places just math and literacy. The same is true for large, complex, and integrated unit of studies. If this becomes he new standard, as past students become parents that will not demand arts education and arts integration for their kids because it has never existed for them then we will be in perpetual trouble. Kaiser pointed that out in his national tour two years ago as well.
Since I do not want to be glum I would like to point to an alternative. It may be that we need the arts in a way that resists hedonic adaptation. Ariely points out that we cannot adapt in this way to eveything. It cold be that he arts are so foundamental to us as humans that we will know them even in their absence and ask for them, just like the fact that music and art lived on in the bleak ghettos. Kurt Knecht suggested in a recent blog that we finally move away from the notion hat to create art one has to suffer, I suggest that we go one step further and claim that art does need us, instead we need art. It may very well be hat it is such a deep need that it defies conditions and we cannot exist for long without it.
This may also explain how after decades of neglect teachers are still seeking opportunities to integrate the arts into their classrooms embracing the complexity of self expression.

And What about Architecture?

Yesterday I happened to go to the Joslyn in Omaha. I was struck by the collection and the superb way it was displayed but more than anything I was struck by the architecture. I admit to having a soft spot for architecture and everyday design, but I have not payed enough attention to the potential in education. Architecture is inherently interdisciplinary part engineering, part technology, part art, part social science. It is all around us, yet we do not spend much time teaching or learning it...
In early education the urge to build is always evident. Young children often build in blocks, Lego and assortments of other toys. As they get older these urges to build and create seem to be channeled to the world of play, while school becomes the serious place of thinking and being academic using our heads but not our hands, solving all problems in the abstract giving up on the trial and error process. Yes I am channeling a bit of Sir Ken Robinson here. While I do not think he is right about everything we definitely can find common ground here!

So my thought for the day is that with some thought we can integrate design process and architecture into our curricula- enhancing them while opening new avenues of creativity and thought for our students and for ourselves!

Engagement in Teaching

It is a rainy morning punctuating a beautiful but extremely busy week. In a short conversation with Monique who is doing some thinking and writing about what is left from arts integration projects after the project is over.
Our conversation turned to thinking about different responses by different teachers and the conditions under which these responses emerge.

One factor that we did not explicitly discuss was teacher engagement. For me we, as teachers, are not fully accepting a practice until we let that practice "fill" us. That is we enact it with students fully embracing and participating in the practice. This is even more important when integrating the arts, since the arts are meant to be displayed, shared, and audienced (not sure this is a word...).

If we stay reserved while playing a song, drawing, dancing, making a movie- our students will feel our reservation and will limit their own participation, viewing full engagement as "childish". Maybe the term I am looking for is JOY (parallels the notion of ">FLOW). If you find joy in integrating the arts and your students can feel your joy, they will buy into it, fully particpate, and learn what it means to really enjoy what you do.

Now I do not mean that finding JOY in a practice shold stop you in any way from being critical after the fact, evaluating what worked and what didn't and improving a practice. This JOY/FLOW is ot always there because to reach it we must have expertise, practice and confidence. But when we reach it the results and the JOY can fill us with a strong sense of efficacy and empowerment.


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