Tag Archives: art education

Teaching Practicum Week 3

Starting teaching in the visual arts room this week allowed me to reflect on my art education philosophy as a whole. I planned my visual arts lessons to begin chronologically with gestural drawing, because not only is that kind of drawing a warmup on the micro scale, but also an artistic exercise in the macro sense too. Over the span of one period, I saw students drawings become more free and relaxed-looking, and it is my hope that by bringing this activity back into the classroom at regular intervals, it can help students feel more relaxed and confident about creating images in general.

One barrier that can arise in the task of teaching art is students quite simply choosing not to participate. For teachers of elective courses, the theme of trying not to push students too much as to drive them away from the non-compulsory course is a reoccurring subject. However, part of my teaching philosophy is the conviction that challenging projects inspire more creativity than the undemanding kinds. To me, this means that student attitude (the desire to do their best), participation, and energy put into the work is what matters most. The visual outcomes are not necessarily key. It is my intention to shift the focus away from prettiness or perfection of a final product, and move that focus towards process. In this way, there can still be the rigorous challenge of working on art pieces without feeling anxiety about the end results.

The projects I have planned for my visual arts classes are mainly themed as being ephemeral. That is my initial step towards implementing my art education philosophy. The next step, enacting classroom management that reflects those goals as well is a little trickier. I’m still not clear if more stringent regulations concerning classroom environment help or hinder the building of intrinsic student motivation or desire to do their best. By this I mean, there are many basic classroom management aspects that I will be working on improving, like clarity and completeness of instructions and assertiveness of statements, however I’m still not clear which kinds of students are likely to produce more work, more often – those who are obliged to put away their cellphones, or those who I warn by simply stating that they are making their own choice by wasting time?

An ephemeral edible work.

An ephemeral edible work.

My personal goal for this upcoming week is to have a firmer grasp on classroom management aspects that I believe will help students complete projects more effectively. I would like to be more assertive about project instructions, due dates, students who are off-task during class time, and bathroom breaks. I would like to implement a new rule in my classroom that students must sign out on the whiteboard whenever they leave the classroom. I would also like to make it clear that in upcoming projects (particularly in Media Arts) I will not be extending due dates. When I see students misusing technology (using devices for matters not relevant to work) I will use this as an occasion to remind them that due dates are firm and their own personal achievement/grades are at stake.

On Friday, I had the pleasure of attending a workshop for professional development day. This workshop consisted of practical group activities that allowed me to consider how I might react in various classroom scenarios. The focus was on indigenous groups, however, the role-playing in various scenarios could have applied to any number of bullying situations as well. 

Teaching Practicum Week 2

Questioning students in order to initiate discussion around various themes and subjects was more challenging than I originally thought, but by the end of this week, I was able to generate student engagement with pre-determined questions. During each class, I showed news, movie and television clips that related to filming and editing interviews. I wrote down lists of questions that began as simple (can you describe to me what the person said in this clip?) and then moved towards being more abstract (what is your opinion on the subject of this clip?). I knew that it was working because students were actually beginning to speak when I asked questions. I felt pleased that I could begin to create more rapport with the students in this way.

I was also happy that my attempt at learning student names more effectively worked. I took attendance throughout the entire period, meeting with students individually rather than calling names at the beginning of class. I immediately started remembering names and faces more easily. I also had a chance to discuss work and answer questions when seeing them individually.

On the subject of establishing different classroom routines than what students are used to, I managed to implement the ‘computer monitors off’ directive on several occasions. Students did not seem too perturbed by this, and I think it helped in maintaining quietness. It did seem peculiar, however, that they stared towards the empty screens rather than looked at me when I was teaching.

My personal goal for this upcoming week includes being more tough about project completion and student use of classroom work time.

On Friday afternoon, I was supposed to view completed interview projects with the class. I was very disappointed to find that only one group was ready to present their work, despite being under the impression that many more would be ready from last class. Many of the students who were not ready had spent prior periods wasting time playing video games or watching silly videos, and claimed to me that they would be able to edit things together quickly ‘later’ or at home. It was not a surprise, yet it was still disheartening to find out that they had not in fact quickly edited things together ‘later’. Most groups, even though I had seen them filming, had no edited clips to show at all.

Knowing very well that I had given ample time to complete the project, I nonetheless allowed students to work on editing for one more period. On this particular occasion, I circulated actively around the classroom, conveying to students assertively that they must finish their work.

I think it will be a challenge to apply just the right amount of strictness and pressure concerning upcoming projects and their completion.

Meanwhile, outside of the classroom, my partner shows me how to max out weight machines.

Meanwhile, outside of the classroom, my partner shows me how to max out weight machines.

Teaching Practicum Week 1

This first week was filled with an endless assortment of surprises, fiascos, setbacks, and shockers. My focus before having taught any classes was to create lesson plans with substance in them, and to deliver that raw information effectively. I see now that there is actually an intermediary between those two tasks that dominates the end results entirely; that is, my presence as a teacher in and outside of the classroom.

So far, I have worked with two Media Arts classes. The lesson objectives for both involved motivating students to produce filmed interviews of each other, working in groups. For the most part, the purpose of projects in Media Arts class is to encourage students to practice their filmmaking skills by using camera equipment and editing software. I don’t really have to worry about chronological sequencing of projects, as students have already been introduced to equipment and software, so this project made sense as an introductory activity in the way that I could learn some interesting facts about them.

Right away, I knew it would be a struggle to implement theoretical instruction in this very hands-on class. Initially, my emphasis was on lively content that students could relate to, and I still think that is the way to go – although I realize now that conveyance of content is everything. Particularly, I’ve come to recognize that questioning students is the best, but also the most challenging way to communicate ideas. I have to continue working on posing questions throughout lessons that provoke student interest and discussion. So often with peers at UBC, discussions can be initiated by vague statements or imprecise queries. I learned this week that this is not so with secondary students; they require a succession of simple, explicit questions that can perhaps build into more complicated, abstract concepts. So far, my questioning elicits very little reaction and discussion from students, and it requires a lot of work.

Another difficulty associated with the Media Arts class in particular is students having access to the computers while I am instructing. Normally, they are not required to have monitors off while the teacher is instructing, but I am finding that students are distracted greatly by the presence of the computers while I’m trying to teach. I am starting to realize how my own teaching style may have to diverge from some of the established norms of the Media Arts room. In the upcoming week I would like to implement some new routines during class such as having students power-off the monitors before I instruct, and more strict regulation regarding when they can take out the film equipment (for example, they can only start filming once the group has downloaded all previous footage on the camera onto the computer).

On a positive note, I feel that I have gained a lot of technical knowledge in just this one week. The cameras, the computer software, the projector set-up, and all the related wiring were enormously intimidating before I started teaching, but now they are starting to make sense, and I can set things up quickly.

My goals in the upcoming week include strengthening my questioning capabilities by writing down larger lists of questions in my lesson plans. I would like to ‘toughen up’ my relationship with students in both Media Arts classes by establishing my own classroom routines, how they differ from the procedures they are used to, and why they are important. Finally, I would also like to attempt a new method for learning names. I would like to take attendance throughout the period by speaking to each student individually before the end of class. This method should allow me to connect with students more personally, learn their names more effectively, and aid in the assessment process as well, which relies heavily on personal reflection and student-teacher discussion.

Where the film making magic happens.

Where the film making magic happens.

How would you say it?

How would you describe the term ‘assessment as learning’? How about ‘assessment for learning”, or ‘assessment of learning’? These are the kinds of terms that a teacher should be aware of when thinking about the evaluation of student work. The project of filming my personal response to those questions turned out to be a lot of fun! Take a look:

[youtube https://www.youtube.com/watch?v=uhRxvMAeSKk&w=560&h=315]

I hoped that this month could be named ‘the days of lesson planning’. No such luck. I’ve been hit with a storm of essay work, and nightly short assignments. When I can finally calm my mind to sit down, continue on with the process of accumulating artists, creating narratives for sequences of lessons that will guide students through steady paths of materials, techniques, and inspiration, I find that there’s always something else to do — another pot or pan to clean, another wind storm drawing me outside to go check on the boat at anchor…

Edible Building: Students will create the tallest, sturdiest, yummiest tower they can out of edible materials.

Edible Building: Students will create the tallest, sturdiest, yummiest tower they can out of edible materials.

In any case, I have one unit plan ready. Here’s a quick over-view. It’s only part one because I created approximately 18 lessons in total under the theme ‘Ephemerality’, however I think it’s fair enough to start with the first 8, not make the thing too massive:

Title: Ephemerality: Part One

Themes: Ephemeral art-making, being able to ‘let go’, 2D and 3D, indoor and outdoor work, documenting work.

Rationale: Through various art mediums, including charcoal, conté, edible materials, sand, and biodegradable found objects, students will learn how to create work that they are willing to surrender to the passage of time, destruction by natural and/or artificial means. By introducing students to the concept of ephemerality through gestural drawing, they will develop a basis for creating technically proficient work that is also swift, and loose. Each class will also incorporate one group activity and one visual cultural lesson in order to build students’ understanding of their art-making in a historical context, as well as build a sense of community and social understanding.

Learning Objectives (by the end of the unit students will be able to):

  • Create high quality work swiftly and thoughtfully by developing both their technical and conceptual skills.
  • Surrender their work to deconstruction by natural or artificial means.
  • Document their work effectively so that the original creations are not completely lost. Recording the work may be important to them for portfolio purposes.

Prescribed Learning Outcomes: (Drawing and Painting, Sculpture 8 – 10 within the Visual Arts IRP)

  • mark-making materials for drawing (e.g., charcoal, conté, graphite)
  • surfaces (e.g., cardboard, wood, found objects)
  • single medium, mixed media
  • mark-making tools (e.g., brushes, pens, stylus)
  • manipulating tools (e.g., erasers, stumps, sponges, palette knives)
  • surfaces and supports (e.g., palettes, easels, boards)
  • drawing techniques (e.g., gesture, blind contour, continuous line)
  • surfaces (e.g., cardboard, wood, found objects)
  • single medium, mixed media
  • Documentation of development process: (e.g., portfolio of process drawings to accompany a finished work, using sketchbook to plan design process)
  • Visual Culture:
  • artists, artworks and movements
  • terminology, vocabulary and contexts
  • considerations for venue, audience, and purpose unique to drawing and painting (e.g., subjects appropriate to particular contexts)

Lesson List:

  • Lesson 1: Gestural Drawing and Paleolithic Paintings
  • Lesson 2: Gestural Drawing and Building Confidence
  • Lesson 3: Gestural Drawing and Animators
  • Lesson 4: City-building with Edible Materials
  • Lesson 5: Designing a Sand Mandala
  • Lesson 6: Making a Sand Mandala
  • Lesson 7: Collecting Natural Materials
  • Lesson 8: Building with Natural Materials
Students will build with natural, found materials to create ephemeral structures.

Students will build with natural, found materials to create ephemeral structures.

The question follows me around. How will I mix my outdoor, movement based practice with sedentary, art education?

So far, my best response to that question has been to bring the outdoors inside.

So far, my best response to that question has been to bring the outdoors inside.

The following is an excerpt from an essay I had to write concerning this question, my inquiry:

Years ago, I first asked my boyfriend out by asking him on an adventure. I promised him quests, travel and glory. Now, he has completed a science fiction graphic novel based on our earlier travels through India and Nepal. He declared that he’d write more if I continued scheming expeditions. Approximately two years ago, we were invited to crew on a Chinese sailing junk that has been making its way across the world for the past 25 years. We had our camping gear ready to make our way down the coast on our bicycles to meet with the ship’s captain. The sailboat plan fell through however, because they were having repair difficulties on the boat. With no fixed dates, we opted for a cargo ship bunk instead, heading across the Pacific. It wouldn’t quite be the same kind of sailing experience, but offshore involvement in any case.

Two days before going to work out in the forest to fund our trip, my boyfriend received news that his stubborn back-ache was in fact stage four cancer. Honestly, I had never considered long term work outside of Tree-planting before this situation, and suddenly we were being told to make sedentary plans indefinitely. My partner was being informed about numbers, survival rates, and painful and invasive procedures. I was being told that I would have to reverse all my goals in life.
Throughout his treatments, I struggled to keep my outdoor practice alive.  I enrolled in design courses, hoping to fulfill my interests through nautical design (in this way I could build boats instead of sailing them). I volunteered frequently at the a local bicycle recycling centre, acting as if learning more about the mechanical aspects would somehow bring the dream of extended bicycle touring closer to fruition. I’ve also always been drawn towards teaching, gaining experience through part-time work and volunteer opportunities, so when planning for my new future pursuits, it made sense to join an education program.
So this question of inquiry has been with me since my partner’s diagnosis; how do I maintain my motion-based practice in the midst of stationary circumstances?
My natural state consists of slogging through logs, mud and brush on a cut-block, carrying bags of seedlings on my hip, and sleeping under the stars. All through my adult life, working hard seasonally, and then focusing on my creative goals during the intervals has consistently been my routine. Creative outdoor endeavours are my passion, my guiding motivation, yet, teaching requires extensive time and energy.
As I have experienced thus far in this teaching program, my outdoor practice has been falling by the wayside. There are simply not enough hours in the day to attend classes as well as paddle out to the sailboat I keep anchored close to home. There are seemingly no opportunities to explore new places on foot or on bike outside of the city. I feel as though it’s impossible to create the conditions for adventure, let alone create the conditions for making artwork based on adventure.
In researching for this proposal, I looked into the processes undertaken by other educators to keep teaching and artistic practice in balance. One perspective taken by an educational researcher was to ask whether or not teaching and artistic practice are fused together, or separate endeavours (Sweat, 2006). My response to that idea is that for the most part, they have indeed been completely separate. I am now being asked to fuse outdoor exploration and education together, although they are not conventionally compatible. There are are of course examples of how the two endeavours have been combined successfully, namely robust outdoor education programs that emerge of out traditional school settings that foster true experiential learning (Zink, 2010) or programs that aim to make the entire world a classroom (Class Afloat, 2013). I strongly favour these concepts, and hope that one day they are normalized in education to the point where any teacher candidate with the same combination of interests as mine could easily say, well of course! I want to train to be a teacher-adventurist!

Scheming, Planning

My teaching philosophy is revealing itself through the lesson plans. The visual arts classes I teach will apparently be filled with pop culture references teetering on the edge of unfitting (can you play Cards Against Humanity in public school setting?) and utterly in vogue (for those students who really want to base their projects on video game, memes and/or use of camera-phones).

The hardest part is coming up with a new artist for each lesson, and group-building activity. Will it pay off to treat the students each day like a CEO group at team-forming conference? I hope so.

Stay tuned for the Ephemeral Visual Arts Unit Plan to be posted here shortly. I’ve been keeping it soft and warm in my pocket all weekend…

[youtube=http://youtu.be/Y1JzFlkQYuw?t=1m57s]

Media Makes Us

We began to have an interesting discussion today about Media. Does it influences us? Is the average person in control? It’s strange to me that most people I know would state that advertisements skew perceptions of the female body, force women to become anorexic, but that video games aimed at males do not force them to want to be violent.

Do video games influence us to kill one another? Do advertisements influence us to be anorexic? Which one is it? Do we have Free Will at all here?

To be fair, advertisements request viewers to obey, while video games only demand participants to play. However, I would still argue that Media, being all around, being ever-present, is either something humans grow resistance to, or not.

Or perhaps, we all find ways to give Media permission to enter our safe zones. Yes yes — I know that product is evil, but I deserve something nice for once. On the other hand, most people do not let the violent images they see command them into perpetrating awful crimes.

In either case, it’s important to attempt to understand, and to be critical. I realize that throughout my life, endless sources have allowed me to learn to be analytical. It don’t think we’re necessarily born to understand what is true and what is false automatically.

 

Double Whammy; a skinny female shooting a big gun. Do cartoons have the same effect on people as live-action?

Double Whammy; a skinny female shooting a big gun. Do cartoons have the same effect on people as live-action?

Scrutiny

How does one assess Art in the classroom? How do teachers give marks for visual work?

When I look back to my own high school experience I recall plainly how marks were dolled out in Math class; homework was handed in, quizzes were scored, tests were taken, and numbers were tallied up.

In Science, much the same story, as well as Social Studies, and English. Well actually, in both English and French classes I recall doing a lot of reading, and writing. Did I do the reading? Yes, good, I got my marks. Did I write without making tons of grammatical/vocabulary errors? Yes, good, I got my marks.

But what about Art? It was a large component of my workload in high school, and yet I remember nothing of the marking scheme. Perhaps that is because the scheme was not clear, or maybe I’ve tried to bury the bad memories. Either way, it’s generally an unclear concept.

People often think, you make a boring, ugly painting, you get a bad mark, right? One thing that has become certain in my mind is that Bad Art does not, should not equate to Bad Marks. By ‘Bad Art’ I simply mean not pretty, or not attractive. So far, some of the best work I’ve seen students make was spontaneous, abstract, dicey, obscure. I love the meticulously detailed stuff too, but in the end, what inspires most is the application of energy. That application is experimental — art is experimental in most cases — you never know what the exact outcome will be. In Math class, the teacher knows what the outcome will be. It is understood by both the students and teacher that there are right answers and wrong answers. There are simply no wrong answers in Art. There are safe ways to use materials and techniques, there are successful implementations of tools and methods. However, there is no such thing as a wrong art piece.

Assessment in Art should therefore not emphasize the marking of products, but rather the process. It’s easy to envisage a marking scheme that considers the conduct of students in class — whether or not they are attending, listening, working, contributing. It’s easy to assess whether or not they are applying techniques that are demonstrated, using the time they have to create, or just fooling around instead. I do not believe that the final thing, the art can be assessed officially, but it can indeed be critiqued by themselves and their peers. And the students can learn to critique constructively. Their participation can then in turn be marked.

Detail of a piece that I eventually threw into a construction waste bin in our neighbourhood. What does it mean to take emphasis away from the final, physical product? What does it mean to assess only process?

Detail of a piece that I eventually threw into a construction waste bin in our neighbourhood. What does it mean to take emphasis away from the final, physical product? What does it mean to assess only process?