ideal art classroom

Thursday, October 26, 2006

My blog

My blog reflects my ideas and thoughts on building the ideal classroom. I have chosen to focus on the ideal art classroom as this is my area of interest.
I have used a combination of websites, images both from the net and my own and my own personal thoughts jotted down as I researched each key stage in the development of the ideal classroom.
I have tried to include the opinions of academics, teachers and students in what would comprise the ideal classroom and have included a webquest on the designing of an ideal art space at a school.
The teaching of visual arts in a school is often seen as unimportant or “for the bludgers” but I feel it is in these creative subjects that students can make a place where they can connect with each other through networked learning and develop a community where they can reflect, participate in deep learning, explore their gifts and talents and experience a sense of freedom and power over their education in a creative environment.
Individuals can often transform in the engaging subject of visual arts, where they can explore other aspects of themselves like their creativity. The culture of the school can then change as all individuals in the school begin to realise that the creative arts is a powerful tool in building a community where everyone can experience a sense of happiness, inspiration and belonging.


image from:www.tooter4kids.com/classroom/Together%20Poem.htm

Google search for:art culture in schools
How Art, Culture and School Environment Play a Role in Student ...
File Format: PDF/Adobe Acrobat - View as HTMLHow Art, Culture and School Environment. Play a Role in Student Achievement. By Vivian L. Wessell. M. Much of a school’s environment can be attributed to ...www.artsed.org/assets/How%20Art,%20Culture%20and%20School%20Environment%20Play%20a%20Role...pdf -

Transformation of culture happens when all the factors talked about in this blog actually happen. To transform a school even a single teacher can make a huge impact. It just takes one brave person to start changing and eventually, like dominos, everything starts changing. Magic happens when people become inspired, act creatively and connect with other individuals in a powerful and meaningful way. That is when things begin to change.


Shaping School Culture: The Heart of LeadershipTerrence E. Deal, Kent D. PetersonISBN: 0-7879-6243-0Paperback176 pagesFebruary 2003

Description
Table of Contents
Author Information

Just as culture is critical to understanding the dynamics behind any thriving community, organization, or business, the daily realities and deep structure of school life hold the key to educational success. Reforms that strive for educational excellence are likely to fail unless they are meaningfully linked to the school's unique culture. In Shaping School Culture, Terrence E. Deal and Kent D. Peterson show how leaders can harness the power of school culture to build a lively, cooperative spirit and a sense of school identity.
The authors draw from over twenty years of research on school improvement as well as from their own extensive work with school leaders across the country to identify viable new strategies for effective school leadership. They describe the critical elements of culture—the purposes, traditions, norms, and values that guide and glue the community together—and show how a positive culture can make school reforms work. Deal and Peterson also explore the harmful characteristics of toxic cultures and suggest antidotes to negativity on the part of teachers, students, principals, or parents.
Using real-life cases from their own research, Deal and Peterson provide concrete, detailed illustrations of exemplary practice in different school cultures. They reveal the key symbolic roles that leaders play in school change and identify the specific skills needed to change school culture successfully. Shaping School Culture provides an action blueprint for school leaders committed to transforming their schools for success.
http://www.josseybass.com/WileyCDA/WileyTitle/productCd-0787962430.html

Transformation of culture

Stand and Deliver Revisited
The untold story behind the famous rise -- and shameful fall -- of Jaime Escalante, America’s master math teacher.
By Jerry Jesness
Thanks to the popular 1988 movie Stand and Deliver, many Americans know of the success that Jaime Escalante and his students enjoyed at Garfield High School in East Los Angeles. During the 1980s, that exceptional teacher at a poor public school built a calculus program rivaled by only a handful of exclusive academies......
http://www.reason.com/0207/fe.jj.stand.shtml

ED418962 - The Development, Maintenance and Transformation of School Culture.
Full text article at:http://eric.ed.gov/ERICWebPortal/Home.portal?_nfpb=true&_pageLabel=Home_page
Title:
The Development, Maintenance and Transformation of School Culture.
Authors:
Cavanagh, Robert F.; Dellar, Graham B.
Abstract:
This paper describes a study that investigated Western Australian senior high schools' cultures. Researchers developed the School Cultural Elements Questionnaire to examine six aspects of school culture: professional values, emphasis on learning, collegiality, collaboration, shared planning, and transformational leadership. A group of 422 teachers in 8 schools completed the instrument. Also, teachers in two of the schools completed interviews designed to confirm the survey data. Researchers used the original theoretical framework and the study findings to develop the School Improvement Model of School Culture. This paper applies the model in an examination of the nature of school culture, school improvement, and educational systems change. Discussion of these matters is based on a set of propositional statements concerning: internal and external influences on cultural stability; school subcultures; school improvement and cultural growth; cultural inertia; traditional school improvement programs; cultural stimulation; systemic school improvement; and school improvement by cultural intervention. (Contains 24 references.) (SM)

http://www.ischool.utexas.edu/~vlibrary/edres/theory/cajete3.html
Indigenous Education and Its Role in Individual Transformation

Information from:http://www.springerlink.com/content/e2t48558n3788348/
Journal Article
The transformation of individual and collective knowledge in elementary science classrooms that are organised as knowledge-building communities
Journal
Research in Science Education
Publisher
Springer Netherlands
ISSN
0157-244X (Print) 1573-1898 (Online)
Subject
Humanities, Social Sciences and Law
Issue
Volume 25, Number 2 / June, 1995
DOI
10.1007/BF02356450
Pages
163-189
Online Date
Tuesday, April 11, 2006

The transformation of individual and collective knowledge in elementary science classrooms that are organised as knowledge-building communities
Michelle K. McGinn1 , Wolff-Michael Roth1, Sylvie Boutonné1 and Carolyn Woszczyna1
(1)
Faculty of Education, Simon Fraser University, V5A 1S6 Burnaby, B.C., Canada
Abstract This study was designed to address two purposes. First, we wanted to test working hypotheses derived from previous studies about the transformation of individual and collective knowledge in elementary classrooms. Second, we attempted to understand the degree to which “ownership” was an appropriate concept to understand the process of learning in science classrooms. Over a four-month period, we collected extensive data in a Grade 6/7 classroom studying simple machines. As in our previous studies we found that (a) conceptual and material resources were readily shared among students, and (b) tool-related practices were appropriated as newcomers participated with more competent others (peers and teachers) in the pursuit of student-framed goals. We also found that for discursive change (“learning”) at the classroom level to occur, it appeared more important whether a new language game was closely related to students' previous language games than who actually proposed the new language game (teacher or student). Implications are drawn for the design of science curricula and classroom activities.
Both pedagogy and design are still tightly bound by rationalist, symbol-manipulating, problem-solving assumptions that hold knowledge to be a property of individuals. Pedagogy still concentrates on the individual and individual performance, even though most work is ultimately collaborative and highly social. (Brown & Duguid, 1992, p. 171)

Michelle K. McGinnEmail: michelle mcginn@sfu.ca.

Transformation of the individual

Education can be pretty powerful stuff. When a student has a positive attitude to learning, feel like they belong, can be creative, make good, informed choices and succeed in some way then their whole person can be transformed.
When we watched the film Stand and Deliver each student was ultimately individually transformed and grew as a person as a result of the teacher's belief in them and their abilities.
In the ideal classroom, each student would be transformed or at least inspired to better themselves in some way.

Nine Classroom Creativity Killers Marvin Bartel - 2001
http://www.goshen.edu/art/ed/creativitykillers.html
I liked this article and it is definitely worth reading. Following is an example of one of Bartel's nine classroom creativity killers.
# 4.
I Kill Creativity when I Demonstrate instead of having students Practice.
I can sleep through a demonstration. I can not sleep through a hands-on practice lesson. Tell me and I might remember a little while - if I listen. Show me and I will remember a bit longer - if I pay attention. Have me do it - I learn it. When I demonstrate, I still get quite a few questions about what I "taught". When I direct a practice session nearly everybody feels confident to do it again using their own ideas. If a demo is the only way, I find that it needs to immediately followed by practice, not by the final product assignment. A demonstration can cause the aborting of imagined ideas before they are born. It implies a "right" way. I never see what a student might have imagined had I not provided the "right" way.

I liked the following definitions of creativity from the following website:http://www.uwsp.edu/Education/lwilson/creativ/define.htm
Defining creativity
If you had to provide a working definition of creativity, how would you define it?
Below are some quotes that offer common definitions of creativity. How do your perceptions compare to those of the experts?
"You cannot use up creativity. The more you use the more you have. " Maya Angelou
Creativity is . . .
Common definition from Webster's - Creativity is marked by the ability or power to create–to bring into existence, to invest with a new form, to produce through imaginative skill, to make or bring into existence something new.
Carl Rodgers (psychologist an writer) -- The emergence of a novel, relational product, growing out of the uniqueness of the individual.
Henry Miller ( writer) -- The occurrence of a composition which is both new and valuable.
John Haefele (CEO and entrepreneur) -- The ability to make new combinations of social worth.
Newell, Simon, & Shaw (team of logic theorists) -- A special class of problem solving characterized by novelty.
H. H. Fox (scientist) -- Any thinking process in which original patterns are formed and expressed.
E. Paul Torrance (educator, academic, creativity investigator) --Fluency , flexibility, originality, and sometimes elaboration.
Rollo May (writer, philosopher) - Creativity is the process of bringing something new into being...
Roger von Oech - Creative thinking involves imagining familiar things in a new light, digging below the surface to find previously undetected patterns, and finding connections among unrelated phenomena.
Carnevale, Gainer, Meltzer - ... the ability to use different modes of thought to generate new and dynamic ideas and solutions
Use a Metaphor:
If you could define creative in a metaphoric way, what might you say and why?
Example: Creativity is like a cat chasing its tail.
In the act of creating or in solving problems in creative ways we often go round and round in endless circles wanting to pounce on an idea. Sometimes the answer or solution is right before our eyes but we can't see it. In order to find the solution, find the missing piece, solve the problem, we need to just look at something familiar in a new and different way.

Creativity in the Classroom


The above image by Marla lewis was on the following website:
http://www.childrens-music.org/childrens-music/artists/artist_photo_cd_art/lewis/marla-lewis-front.jpg
I really like this fun, happy image. Classrooms should be fun to be creative, a place where students are happy. The art classroom has to be particularly creative because students need to feel inspired enough and comfortble enough to express themselves in their painting, drawing, ceramics, photography etc.

Wednesday, October 25, 2006

Freedom and power in the art classroom

Freedom and power in the art classroom are essential if students are able to feel confident that they can express themselves in their artmaking. Freedom to choose what they will create and the power that comes from that makes for an inspiring situation for a lot of students. The art classroom usually allows for a lot more freedom than other classrooms and I think this is an important consideration in the pursuit of the ideal classroom.

The Classroom of Choice: Giving Students What They Need and Getting What You Want
by Jonathan C. Erwin


Chapter 5: Power in the Classroom: Strategies for Student Achievement
Chapter 6: Freedom in the Classroom

The above information about this book can be found at:
http://www.ascd.org/portal/site/ascd/template.chapter/menuitem.ccf6e1bf6046da7cdeb3ffdb62108a0c/?chapterMgmtId=a01dcba5ddcaff00VgnVCM1000003d01a8c0RCRD

Freedom and power

Choice theory
From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Choice_Theory
(Redirected from
Choice Theory)
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The term choice theory is the work of Dr. William Glasser, MD, author of the book so named, and is the culmination of some 50 years of theory and practice in psychology and counseling. Choice theory is also a discipline of analyzing the mathematical nature of the choice behavior of economic agents in microeconomics. For choice theory in economics, see rational choice theory.
Choice Theory posits that behavior is central to our existence and is driven by five genetically driven needs, similar to those of Maslow:
Survival (food, clothing, shelter, breathing, personal safety and others)
and four fundamental psychological needs:
Belonging/connecting/love
Power
Freedom, and
Fun
Choice Theory posits the existence of a "Quality World" in which, starting at birth and continuing throughout our lives, we place those things that we highly value: primarily the people who are important to us, things we prize, and systems of belief, i.e. religion, cultural values and icons, etc. Glasser also posits a "Comparing Place" in which we compare the world we experience with our Quality World. We behave to achieve as best we can a real world experience consonant with our Quality World.
Behavior ("Total Behavior" in Glasser's terms) is made up of these four components: acting, thinking, feeling and physiology. Glasser suggests that we have considerable control or choice over the first two of these, and little ability to directly choose the latter two. As these four components are closely intertwined, the choices we make in our thinking and acting greatly affect our feeling and physiology.
The source of much unhappiness are the failing or failed relationships with those who are important to us: spouses, parents, children, friends & colleagues. The symptoms of unhappiness are widely variable and are often seen as mental illness. Glasser believes that "pleasure" and "happiness" are related but are far from synonymous. Sex, for example, is a "pleasure" but may well be divorced from a "satisfactory relationship" which is a precondition for lasting "happiness" in life. Hence the intense focus on the improvement of relationships in counselling with Choice Theory-- the "new Reality Therapy".
Choice Theory posits that most mental illness is, in fact, an expression of unhappiness and that we are able to learn how to choose alternate behaviors that will result in greater satisfaction. Reality Therapy is the counselling process focussed on helping clients to learn to make those choices.
The Ten Axioms of Choice Theory
1. The only person whose behavior we can control is our own.2. All we can give another person is information.3. All long-lasting psychological problems are relationship problems.4. The problem relationship is always part of our present life.5. What happened in the past has everything to do with what we are today, but we can only satisfy our basic needs right now and plan to continue satisfying them in the future.6. We can only satisfy our needs by satisfying the pictures in our Quality World.7. All we do is behave.8. All behavior is Total Behavior and is made up of four components: acting, thinking, feeling and physiology9. All Total Behavior is chosen, but we only have direct control over the acting and thinking components. We can only control our feeling and physiology indirectly through how we choose to act and think.10. All Total Behavior is designated by verbs and named by the part that is the most recognizable.

http://www.manifestyourpotential.com/en/work/tensteps/1discoverwork/howto/spot_potential_classroom.htm
Manifest Your Potential
How To Spot & Nurture Potential in the Classroom



Image from: http://www.brainconnection.com/med/edimg/l/multiple-intelligence.jpg

I liked the above image. In terms of gifts and talents, I believe all children are gifted and talented and as they spiral up the knowledge mountain, some will run, some will walk and some will dawdle but it is up to the teacher to provide as many opportunities as possible for each student to be able to display their particular gift or talents and feel some sense of achievement.Every student has the potential to succeed and I believe that in the ideal classroom every student is contributing in a meaningful way.

Gifts and talents


Imagefrom:http://www.strongmuseum.org/edu/images/intelligences.gif

Deep learning:
http://www.csu.edu.au/division/celt/TOOLKIT/learning/appraoches.htm

The following paragraph is from the website
http://www.engsc.ac.uk/er/theory/learning.asp
Deep and surface approaches to Learning
"Simply stated, deep learning involves the critical analysis of new ideas, linking them to already known concepts and principles, and leads to understanding and long-term retention of concepts so that they can be used for problem solving in unfamiliar contexts. Deep learning promotes understanding and application for life. In contrast, surface learning is the tacit acceptance of information and memorization as isolated and unlinked facts. It leads to superficial retention of material for examinations and does not promote understanding or long-term retention of knowledge and information. "

Deep Learning

Image from:http://electronicportfolios.com/digistory/epstory.gif

Reflection in the art classroom

In the ideal classroom I think it would be useful for students to have the time and space to write reflectively in their visual art process diaries at the end of practical lessons. I think it is important for students to reflect on their artmaking and their own artistic choices. In the ideal classroom students would be continually inspired and hopefully this would be reflected in the writing.

The Journal of the John Dewey Society
http://johndeweysociety.org/

How John Dewey’s Theories Underpin Art and Art Education
Patricia Goldblatt
SUGGESTED CITATION:Patricia Goldblatt (2006) "How John Dewey’s Theories Underpin Art and Art Education", Education and Culture: Vol. 22: No. 1, Article 4. http://docs.lib.purdue.edu/eandc/vol22/iss1/art4

Reflection

I found the above model for reflective practice in educationand the following information from the website:
www.herdsa.org.au/confs/1996/bell.html.
"Reflection is a rational and focused process of testing assumptions. It was posited in 1938 by John Dewey who described reflective thought within teaching and learning as the
active, persistent and careful consideration of any belief or supposed form of knowledge in the light of the grounds that support it and the further conclusion to which it tends.

In addition to the cognitive effect, the emotional response of the practitioner is integral to the process (Osterman & Kottkamp, 1993; Boud, Keogh and Walker, 1985). Brookfield (1988) notes that 'Critical Reflection' includes not only challenging our assumptions but exploring alternative actions. The inclusion of action turns 'Reflection' into 'Critical Reflection'. "

Monday, October 23, 2006

Definition of community

This definition of "community" came from:
http://www.answers.com/topic/community
com·mu·ni·ty (kə-myū'nĭ-tē) n., pl. -ties.
A group of people living in the same locality and under the same government.
The district or locality in which such a group lives.
A group of people having common interests: the scientific community; the international business community.
A group viewed as forming a distinct segment of society: the gay community; the community of color.
Similarity or identity: a community of interests.
Sharing, participation, and fellowship.
Society as a whole; the public.
Ecology.
A group of plants and animals living and interacting with one another in a specific region under relatively similar environmental conditions.
The region occupied by a group of interacting organisms.

Community

Building community in the art classroom can happen in a variety of ways. I have seen students (and their teachers) build community in their classrooms through having a series of exhibitions, entering competitions together, even writing their own art manifestos!
In the ideal classrom everybody would feel like they belong to the community created by that class.

Building Community Partnerships:
http://education.qld.gov.au/etrf/senior-commun.html

Networked learning in the Art Classroom

Networked Learning in the ideal art classroom would allow students to share their creative ideas with other students and to research different artists, their techniques, inspirations and ideas. To be able to have access constantly to this kind of information is continually inspiring. Students would be able to view exhibitions online and to discuss their ideas regarding these exhibitions with their peers..

When I did a search in google for "networked learning""art classroom" I came across this website: http://www.capeweb.org/resources.html which had the following link to an example of a Networked learning Community:

"TECHNOLOGYEducation with New Technologies: Networked Learning Community"Designed to help educators develop, enact, and assess effective ways of using new technologies."learnweb.harvard.edu
http://learnweb.harvard.edu/ent/home/index.cfm


Networked learning
From Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Networked_learning
Jump to: navigation, search
Networked learning is the use of Information and Communications Technology (such as the Internet) to establish and maintain connections with people and information and to communicate in such a way as to support one another's learning, hence - a networked learning. It is relating to the learning theory Connectivism.
A similar definition is provided by the Centre for Studies in Advanced Learning Technologies (CSALT) at Lancaster University who define 'networked learning' as: learning in which C&IT is used to promote connections: between one learner and other learners, between learners and tutors; between a learning community and its learning resources.
Another definition could be: Networked learning occurs when Information and Communications Technology (e.g. Internet) is used to connect a community of people who provide information and ideas to support each other's learning.

[edit] See also

Networked Learning to me means linking ideas through discussion and exchange of information via technology such as the internet, intranets and other means of communication.

I found this website interesting...
"The studio art classroom is not just for developing skills or critical ... but it is crucial to actively engage place as a means toward citizenship, ..."
http://www.g-rad.org/lamb/archives/2006/10/placecitizenshi.html

Place as Inspiration

An art classroom should be a place that inspires the students to be creative. Students should feel like they belong there, that it is a special place where they can take time out to create, learn and express themselves. I think the ideal art classroom would be full of interesting prints and objects for the students to feel inspired in the subject and the classroom should have lots of images made by the students themselves so the students can experience a sense of ownership and pride in their art classroom.
Not all students will be creative and not all students will perform to the same level but in the ideal classroom all students will feel they belong and that they can achieve to the best of their abilities.

The following site discusses an Australian sense of place:
http://www.deh.gov.au/soe/2001/heritage/introduction-2.html#asenseofplace

The following paper can be found at: http://www.aare.edu.au/05pap/abs05.htm#G
AARE Conference Paper Abstracts - 2005ISSN 1324-9339
My place: The remaking of images of country and belonging in Australian youth
Judith Gill and Sue Howard, University of South Australia
In recent years Australian society has been undergoing major revision in terms of a vastly expanded immigration program. Currently one in five Australians has been born overseas. For the school population the numbers of newcomers to the country is even higher and their distribution is not evenly spread throughout the population.
These developments pose significant issues for education, its form and content, not the least of which is the ways in which the school works to fulfil its traditional function of inculcating an understanding of Australian law and political systems, a respect for its leaders and a sense of belonging.
The study reported on in this paper described the responses from some 400 young South Australian schoolchildren to questions about their feelings for the country in which they live. These responses showed a ready and genuine engagement with questions of the current social mix, an acceptance and pride in being a new society, a positive response to indigenous issues along with some idiosyncratic comment about the country which provides further evidence of the ways in which young people are accurate deconstructors of the manifold media messages about place and belonging.
This paper will be presented as part of Symposium 16 GIL05257 Youth and nation: The reworking of identity and place in multicultural societies
Keywords: Comparative and International Education

PLACE

The Art Classroom as Place
Students should feel safe, secure and happy wherever they are working but the art room has special considerations for health and safety. There is all sorts of equipment in the art classroom such as pottery equipment (kilns) photography equipment etc. To have an art classroom that is ideal, it is important to ensure that everything is well organised and safe.
An interesting website is Hazards in the Art Classroom by Allison Jerard at:
http://www.arts.ufl.edu/art/rt_room/teach/art_hazards.html
Worth a read!

the following paper can be found at:http://www.aare.edu.au/05pap/abs05.htm#E
AARE Conference Paper Abstracts - 2005ISSN 1324-9339
The space and place of art education
Jennifer Leigh Elsden-Clifton, RMIT
Within poststructuralist theory, the politics of the geographical location of objects and spaces has been bought to the fore by theorist such as Grosz (1995b) and Probyn (1996). This paradigm has argued arrangement of buildings and the structural distribution of classrooms reveal insights into the power hierarchies in schools (Coverston, 2001). In this paper I will adopt this paradigm to explore the politics of location in relation to art education. To do so I will focus on the comments made by art teachers in my research using the following enquiries: how did the teachers refer to their art classroom? How did the positioning of the art classroom respond to the power hierarchies in the schools? How did the teachers conceptualise the space within the art classroom? How did teachers shape this space? How did other teachers and school bodies perceive the space within the art classroom? In this paper I will explore these questions and argue that the location of art and the space within art classroom impacts on the hierarchal position of art within the broader educational context.
Keywords: Arts

What do students think would make an ideal art classroom?
Get students to design their own art classroom using a webquest. A good webquest is Elastic Annex: http://plaza.ufl.edu/mdart/ElasticAnnex/

Tuesday, October 17, 2006

The ideal art classroom will be a place that is inspirational, fun, open, light and interesting.