Category: Art Education: Curriculum and Pedagogy, Secondary Level

Here are a couple of things I found with First Peoples: A Guide for Newcomers:

-Text heavy

-Clear wording

-In my opinion, a good resource tool to read (as a teacher) before integrating Indigenous education in a lesson plan

I am imagining other ways of engaging with this guide, whether it’s more images, a list of links, graphic novel, etc. because I think the format is a bit stale. I am also wondering how many people have read it since its creation (2014) and whether it will be updated yearly, since it’s accessible online. There should also be translated versions for different languages. The guide does reference a lot of loaded topics (residential schools and an interesting myth and facts list) quite carefully. I tried researching if there was any articles or papers reviewing the guide, but I couldn’t find any online. My question is: Who is this guide best suited for? I understand that it was written for educators, newcomers, and students, but I feel like the template and content might be geared towards a certain audience.

Link to the guide: https://www.vancouverimmigrationpartnership.ca/newcomers-resources/first-peoples-guide/

 

 

 

Strategies for high school studio art teaching and assessment in Canada – Fiona Blaikie (ReVisions p. 240)

Limitations I found within Blaikie’s Study:

-Outdated (Results from 2000-2002) and reflected on curriculums from the early 2000s

-Small pool of teachers interviewed; that being said, the examples were more specific and in-depth on experiences than a study based on statistical information

Classroom Tools that Resonated with Me:

I was most drawn to Mark’s reflection. He is an art teacher in New Brunswick who made some great points. In analyzing artwork, he asks the students, “What’s your intuitive response?” and gets them to say comments based on the artwork’s form or function. I did this in my Design course at Langara, and I found this extremely useful in articulating and giving reason to our critiques.

Mark focused on making art talkable, and encouraging a language that students could feel comfortable in speaking. I think that artspeak/artalk severely limits accessibility to art. If we can clearly explain our artistic judgements with existing artwork, I think this will help us in explaining our assessments and criteria to the students.

Question: Since art teachers are still able to create their own criteria, how much formalism will you keep in your assessment?

Creating Effective Paraprofessional Support in the Inclusive Art Classroom – Corrie Burdick & Julie Causton-Theoharis

I thought this article was extremely useful in providing practical steps to support a paraprofessional and teacher collaboration. I can apply the bulleted methods to my LLED lesson plans. I was prompted to reflect on the paraprofessionals/teacher aids in my experience. In elementary school, other students and I would witness them yelling at their student and also at other students. The paraprofessional’s emotions were extremes of two sides. One minute they were shouting to try to gain control of a situation, and then they would be trying to be every students’ friend. I wondered if they too had a disability.

I can totally see how too much of a teacher’s aid presence can work against the student and repel other students from approaching the student. Fading is an interesting concept, and I’ve never been aware of it happening (as a student.)

Questions

• How does a teacher balance the responsibilities of being a paraprofessional and teacher if there are no supports?
• What if a student might need a support but the teacher doesn’t know how to go about asking them or administration? (Is it offensive to suggest an aid might be useful to the student and parents?)
• Couldn’t every student have a learning ‘disability’ and require a teacher support?
• How does a teacher ask a paraprofessional to take steps back or forward in aiding the student?

The new visual image: Image production & consumption in the post-digital era – ReVisions p. 204

During my notetaking, I decided to organize Don Bergland’s ideas into a chart. However, his points only fit into the Pros category, so I quickly brainstormed some Cons of digital/post-digital era (the difference between the two being that the post-digital era acknowledges an integration of traditional and digital methods, and that digital tools are now integral to the artistic process.) I think this would be a good exercise for even high school students to do, so they can engage more critically with these definitions and usages of technology in art. I agree that integration and crossover between “legacy” and “future” content/processes is a cool way for students to discover the best medium for the project, but without structured guidance, I think that students could spend endless amounts of time being indecisive about which process to use, and perhaps lose sense of the connection between an artwork’s content in relation to its materiality.

Questions:

• Should digital literacy be mandatory in secondary schools?
• How would it be implemented (in its own course? Or in every course?)
• What happens when students can’t access the digital tools/software at home, only at school?

 

 

 

 

Learning to Let Go: Motivating Students Through Fluid Teaching in a Choice-Based Found Object Assemblage Unit – Danielle Wayne Dravenstadt

Assemblage is the perfect project to introduce play and self-led learning to students. I looked into the artists she showed her students: Nick Cave, Tara Donovan, Sarah Frost,  Dan Steinhilberand Numen. Each artist has exciting examples of interesting and critical artwork made with assemblage techniques. I found some of the wording in the article a bit puzzling (“authentically explore artistic principles”) and the emphasis on self-expression. In contrast to previous readings that encourage a diversion from the private engagement of self-expression in art making, to being aware/creating more critical discourse on material culture, I wonder if my classmates think that Dravenstadt successfully allowed for both.

The article also had me thinking about creating a space conducive for fluid teaching and choice-based learning. I remember Kyle mentioned a TED talk about the best kindergarten you would ever see. I watched the talk, by Japanese architect Takaharu Tezuka. He explains that the kindergarten, created in 2007, promotes real-life learning, physical activity and interaction, due to the design. The children are allowed to experience risk, because there are trees to climb and spaces to hide in. Noise is encouraged because it is evidence of interaction (would you ever go to a quiet bar?) There are no walls. There’s glass panels so people can look down and in from the roof. Simple items like wood boxes and hoses allow for imagination and play. Environment affects learning, so how will you structure your teaching environment to promote risk-taking and growth from your students?

Students’ cultural images – Revisions, p. 60

I believe Blatherwick’s Critical Action Research Project helped teachers prepare lesson plans based around a concept that wasn’t so critically analyzed. Firstly, representing culture through images is limiting (and may perpetuate stereotypes and tokenism; however, this could open up other avenues of discussion into why we attribute certain images with certain cultures.) In addition, the fact that there was a heavy emphasis on ethnicity being specific to defining culture is problematic.

In Blatherwick’s project, ten grade five teachers asked their students to create images of their cultural heritage or what makes them culturally unique in relation to their ethnicity. “To the amazement of several teachers,” most of the students could not define their culture but minorities could (63). I thought this was funny. Earlier in the article, Blatherwick mentions that New Brunswick has the highest population of Anglophones. What does Anglophone mean in relation to ethnicity? From my understanding, it means English speaking, but while I was reading this article, I feel like it also meant being white. And from previous readings, white students often don’t think they have a culture because their culture is the norm. What are other simple ways to discuss culture beyond race in the classroom? A way to include upbringing, stories, and personal narratives?

The World of Adolescent Art – Revisions, p.169

I found this article particularly interesting in reference to assessing adolescent’s talent, and addressing their engagement with art outside of school. Retallack-Lambert describes talent as how we understand the particular way an adolescent exists in a world of cultural objects. How can teachers assess such existence, or reflection of experience and learning? It reminds me of what Sandrine said: she evaluates students based on the student, not the artwork. This issue of assessing talent doesn’t just concern art teachers, but teachers of other subjects as well. My dad teaches accounting and said that he wish he didn’t have to give marks. However, parents play a huge roll in regards to assessing their teenager’s talent. Most want a result, and some mark of progress, and that shouldn’t be a surprise because most of the world works this way.

I  can connect with Retallack-Lambert’s statement about students being more engaged with art outside of school because it is of personal interest, and can occur indirectly. It’s interesting that there is a general focus on refinement and elaboration rather than exploration during these interactions. This can be likened to reading. When the reader gets to select the subject matter, type of book, and pace, reading is more enjoyable. If teachers can maybe set aside a lesson plan that involves students in shaping the direction of the project, it could generate more interest. However, I wonder what are some ways to guide or control the direction while accounting for everyone’s input.

 

 

Social Responsibility in Art Education – Revisions, p. 92

I think that this reading summarized the common points we have been discussing in class: that art making is political, empowering for students, and is essential to cultural survival. The example of a socially-engaged project, Art Against Racism (Burnaby, BC) describes numerous attempts for the schools to increase awareness of racism and celebrate multiculturalism across music, theatre, and material arts. But were these challenging and exposing oppression? Last November, a student from Lord Byng, the high school I attended, was filmed saying that he wanted to kill black people. The video was shared on social media. One of six black students attending the school of 1,300 was interviewed about her experience. She said she felt threatened. The school held an assembly by Black Lives Matter Vancouver, which was criticized as avoiding issues of racism and focusing on activism. There was also a voluntary forum for students to voice their concerns about the video, which was criticized for being disorganized, having no real impact afterwards, and poorly attended by students.

I used to go to this school. I volunteered for their art classes. I wonder if I was teaching while this was unfolding, how I would address it. Is it appropriate to address specific issues that happened directly at the school in a classroom? I feel like there is so many people to protect, and I don’t know who to protect. When a child does something seriously wrong, does severe punishment change anything?

Indigenous cultures and the profound moral debt we face – Revisions, p. 116

I think this article did the best it could to go over indigenous discrimination and mistreatment, of which I took notes on. I then reflected on my experience with learning about indigenous culture. At Langara, there is a carving class which I never looked into and never took, despite my peers saying that it was really amazing.  At Emily Carr, there is an Aboriginal Gathering Place. I visited it once, and I saw two traditional performances twice, by chance. I fully acknowledge my lack of involvement, and negating responsibility, to educate myself further when these opportunities to do so are so close to me.

Irwin, R., Grauer, K., & Emme, M. (2007) (Eds.), ReVisions: Readings in Canadian Art Teacher Education. Toronto, Ontario: Canadian Society for Education through Art.

 

Chapter 11: Visual Culture Art Education: Why, What and How
Paul Duncum

I disagree with Duncum’s argument that we need to avoid the art school model of dividing courses by mediums. I think material/visual culture can be integrated into all disciplines when introducing a unit. I think that separating courses based on “disciplines” is important for organization’s sake, and there are notable differences in the skills and technique applied. It doesn’t mean that other subject matter and material can be connected.

I do agree with Duncum’s emphasis on moving the art curriculum away from one that celebrates private self expression, putting emphasis on the way people engage with imagery by being aware of media ownership, stereotypical representations, and  the impact of the gaze. In a question that I can only partially answer, how can art teachers reference and include the institution and media to educate students on how career-based art practices function in the real world? And should practical art, or art careers, be part of a new curriculum?

Introduction to BC’s Redesigned Curriculum

I found this reading to be informative and comprehensive. I like the inclusion of the visuals and break-down explanation of the Know, Do, Understand model. However, I found it to be a long reading that sort of reiterated points of teaching that seem obvious to me. I understand that a document like this needs to exist so that all BC teachers have a mandate to follow, sort of like an instruction manual detailing the parts we need, their functions, and some examples as to how to use them.

Question: How will the government provide the tools and resources for teachers to support Indigenous studies? And if they don’t, how can teachers educate themselves to incorporate Indigenous studies into the curriculum?