Revised Teaching Philosophy

TDP 4730                                                                                                                    Lauren Holland

REVISED TEACHING PHILOSOPHY

        I believe that the arts are the purest, most effective form of self-expression in existence. Fine arts in particular can be a powerful tool to engage and promote healthy problem-solving, critical thinking, creativity, empathy and communications. It is the duty of the art teacher to train students to channel these tools effectively and to be able to speak their minds through a universal visual language that has endured throughout time and across cultures.

        Art is the only subject still taught in our schools that cannot and absolutely should not be taught by the books. There are no right or wrong answers, and anyone can be an artist if they want to be. That being said, it is impossible to grow without first being challenged. Every art class I ever took in within the K-12 period was heartbreakingly dumbed down, lacking in depth, and bereft of perspective. Teaching visual art is so much more than cut and dry principles and elements, and to simplify it to such is a discredit to the subject. Students deserve to be introduced to ground-breaking artists from whom they can draw insight and inspiration. They must be given opportunities to represent what they have learned through a variety of media, and they need the content to be connected to important big ideas that they can take and make into their own personal messages to the world. Personal connections are the cornerstone of successful, meaningful making.

        To be an effective teacher, I will need to have extensive knowledge of the dynamics of the art world both past and present, and I will have to be able to make the subject matter real to my students by presenting it in a way that they can relate to. My curriculum will incorporate both classical and 21^st century methods of art making. Students will always be able to count on me for an interesting and differentiated lesson execution, fair and non-biased assessment, and an abundance of extra help wherever/whenever it is needed. I will see evidence of my effectiveness as a teacher through the quality and thoughtfulness of the artwork my students produce, insightful questions and explanations posed, and continuous progress in both of these areas throughout the year.

        I have observed time and time again that students are almost always more interested in how much a teachers cares about them than they are in how much he or she actually knows. Even more important than an instructor’s wealth of knowledge is their ability to build students’ sense of self-efficacy and self-worth. Before they can ever feel compelled to make anything, children need to understand that their opinions and perspectives are valid and worthy of visual representation. My art classroom will be a sanctuary for uninhibited free-thinking and self-expression. Visual literacy is vital, but I am also a big believer in encouraging students to speak their minds through interviews, class discussions, journals, and peer critiques so as to create beneficial student-teacher relationships as well as a community of learners. In a nutshell, an effective arts education begins with knowledgeable, caring, responsive and perpetually positive educators. These kids are our future, and they deserve no less than the very best.

Course Reflection

TDP 4730                                                                                                                                                               Lauren Holland

COURSE REFLECTION

          In regards to viewing and responding to art, I learned more in just this one semester than I’ve learned in my entire art education. For example, as ridiculous as this may sound, I had never before been encouraged to work through big ideas or even experienced a thorough and complete art lesson. The day that we went to Rockbridge to hear Abbey speak was the day I finally began to understand exactly what I was getting into. In the presentation of her own creation, Abbey cleverly used “fear,” a common emotion experienced by and therefore connecting all human beings, to create a meaningful theme. She carefully selected a range of exemplary artists who all had a very different take one this big idea, and the following art making activity was an in-depth, multi-media project that students could not help but immerse themselves in. When she showed us her freshman students’ finished artwork, I was impressed, inspired, and a little upset that my own high school art teachers couldn’t hold a candle to what this young woman was doing. That being was my very first exposure to a real art lesson, I became very afraid. If everything I had observed about art education up to that point had been incorrect, then I had absolutely no idea what I was doing after all. Thankfully that was just the beginning of an entire semesters worth of professional training, and what an eye-opening beginning it was!

          I also thoroughly enjoyed the VTS discussions lead by Dr. Mary Franco at the Museum of Art and Archeology. I had never heard of Visual Thinking Strategy before but was very taken with it and intend to use it with my own students in the future. What I found most fascinating was the fact that everyone noticed something different when they first looked at the painting, but with each suggestion and new ideas put forth by the students, deeper underlying meanings and a possible big idea (resignation) began to form. This was entirely backwards from the way I was normally would have gone about observing and responding to art. However, I almost feel as if VTS was a more effective means of interpretation than if we had been told what the painting was about from the beginning because deep seeing was required to get to that point. This added another super useful strategy to my teacher repertoire, and I am more willing and excited to try new strategies that I may not have considered before after experiencing the effectiveness of a VTS (or VTesque) discussion.

          Until this semester I had absolutely no knowledge of how to even go about developing art curricula. This was the main source of my initial stress and doubt that I was feeling after Abbey’s presentation. The Tiger Artist Lesson was such a pivotal moment for me. After my group executed our much anticipated lesson on “perspective”, I had a new outlook on my career. I will always remember walking out of that classroom smiling and thinking to myself for the first time ‘I can do this!’ Working with my group was a great way to ease into individual lesson planning, and it reminded me of the benefits of collaboration. From that point on I began to brainstorm group projects for my future students, and I made sure to incorporate this idea of teamwork into my unit plan.

          The creation of the unit plan for this course was by far the most difficult and time consuming task I have been challenged with thus far in my college education, but I learned so much that I have to admit it was totally worth it. The first lesson seemed to take forever and a day and I hit a couple of road blocks, but by the third lesson I felt like I was getting the hang of it. Shortly after completion of my unit plan I had to create another lesson plan for a different class, and because I actually knew what I was doing this time around it was a very sweet piece of cake. Good teachers put a good deal of effort and thought into the creation of their curricula, and I really do believe that students deserve nothing less. I may have missed out on a solid arts education growing up, but I swear up and down that no student of mine will ever be able to say the same.

          The Tiger Artist activity was a beautiful and incredibly educational experience, but I think I learned the most about teaching art from my field course. It was the first time I had ever worked in an actual art classroom, and to be able to be there on a regular basis and work on something new every time was really insightful. When teaching art, students need to be shown what they being asked to do, and progress needs to be monitored and encouraged every step of the way. It is important to point out specific areas where a student’s work is successful, and as long as this positive feedback occurs first the students are usually open to suggestions in regards to where they could improve. The elementary school children that I worked with in my field course constantly wanted my approval of their creations, even if they knew good and well that they had done a fine job. Kids want to know that their work has worth and is appreciated by the adults that ask them to do it. The more you believe in them, the more they believe in themselves.

          Though time consuming, the peer unit reviews were highly educational for me as a future teacher. I absolutely love that everyone was willing to share all the hard work that they put into making their unit plans with fellow classmates. I gleaned a plethora of new ideas and perspectives I had never even considered before by watching everyone else’s presentations, and I was glad for their feedback when it came time to present my own.

          My portfolio is my treasure chest. Inside is all of the evidence I have thus far of my ability to be an effective art teacher. As I put it together I reminisced over all the “epiphanous” moments I’ve enjoyed throughout the semester, and I realized that I am more prepared now than ever before to embark on this journey of a career. I was scared in the beginning, but now I’m just excited!

Final Field Reflection

          The K-4 art classroom in which I am stationed is clean and very organized. All of the materials are easily accessible and the students know exactly where to find everything they need. Supplies are stored in cabinets or in plastic containers on shelves in the room. The teacher asks select students to both distribute the supplies to other students and to put them away when class is over. The permission of students to do these distributions is executed in a way that makes the students see it as a privilege because it is presented as a reward for good behavior. This is an incredibly effective strategy that helps the kids appreciate being responsible for the supplies provided for them by the school. If I decide that I want to teach elementary school art I will absolutely make use of what I've learned here.

          The teacher often says "Clap your hands once if you can hear me!", which I think is a clever strategy for getting their attention and keeping them on task. She also frequently thanks "those of you in the class who are keeping your voices at zero!" and sometimes gives verbal recognition to particularly well behaved students. This seems to make the rest of the class seek that same positive attention, at least for a few minutes. If the students are able to keep the noise level at "zero" for an extended period of time, the instructor allows them to move up to a "level one." This means they may speak quietly to each other. However, this usually escalates to a fairly noisy room within minutes, and the teacher usually has to move it back down to level zero.
          The children are initially allowed to sit at their desks, but this sometimes proves to be distracting so the teacher moves them all to "the carpet" if they are not on their best behavior. This large rug is located in the front of the classroom very close to the board and has rows of squares big enough to seat one child per square side by side. The kids know that if they have to sit on the carpet, the teacher means business. It proves to be a very useful device in keeping them focused when the teacher is explaining the lesson. It also allowed them to get an up close look at what is being shown on the board. This doesn't happen very often, but children who are way out of line during class are sometimes sent to sit in one of the carpet squares by themselves away from the rest of the class, sort of like a time-out. After a few minutes, the teacher will ask them if they are ready to sit back in their seat and if she thinks they have calmed down she will let them do so. I have never seen a student be sent to the carpet and not come back minding their P's and Q's.
         In my classroom there is a system in place through which the students can earn or lose stars based upon behavior. If they earn all three stars and keep them until the end of class, they get what is called the class "Braggin' Dragon." If they accumulate enough of these "Dragons," they get special privileges such as candy, pizza parties, or even a walking field trip to Taco Bell. These extrinsic rewards seem to be very encouraging for some students, but because they are not immediate or tangible I think that many of the young kids forget they are supposed to be working together to obtain them. It might be more effective for the teacher to give out small candies or stickers to particularly well behaved students. If the rowdier children see that they could have immediate gratification like their classmates, they might be more inclined to settle down.
From what I have observed, the teacher is the primary rule-maker of the class. Students are most frequently disciplined for repeatedly talking or distracting their neighbor after being asked at least once to stop. Discipline is executed by either moving the problematic child to another table or moving the child to the carpet. If multiple students are misbehaving, the teacher will either ask them to stay at a level zero or take away one star. I have never seen a child sent to the office or removed from the classroom. The classroom management strategies in place seem to be very effective.

          Assessment is primarily based upon whether or not the students do their work. At this age, all of the students have varying levels of ability and I agree with the teacher that to grade them based upon effort at this point would be pointless and probably result in lots of angry parents. The students keep all their assignments in their own hand-made folder and are allowed to take their folders home to their parents at the end of the unit. Feedback occurs almost entirely in class on a personal level between teacher and student. From what I have observed, the students like to explain their art-making decisions aloud to the teacher and her helpers in class. We make sure to point out their strengths and very gently make suggestions in areas in which there is room for improvement. Sometimes other students will chime in and comment on each other’s work. Surprisingly, most of them have only encouraging and positive things to say, which is a beautiful thing in my opinion.

Reflection on Assessment

I am more aware than ever that art assessment needs to be well-rounded and analyze student learning in a plethora of content areas. Assessment needs to be dynamic enough to accurately measure what the students know as well as the specific areas that are proving problematic. The most concrete way to know what your students have successfully learned is to evaluate the progress (and/or lack thereof) made from one assessment to the next. The areas in which progress is slow or non-existent are clear indicators of where changes must be made in teaching strategy.

In assessment, it is important to take into account not only the factual knowledge that students are able to glean from course content, but also the attitudes and motivations within each one of them. Rating scales, when used for student self-assessment, can be very revealing in relation to their own perception of the learning process. I intend to use this technique for my own assessment of student work, as well provide my students with an opportunity for self-assessment. By taking these self-assessments into account, an educator can obtain a better idea of where the students are personally excelling or struggling, rather than just what they observe. They also encourage students to evaluate themselves in a measurable way. These kind of assessments give the teacher the opportunity to give tailored feedback to students on an individual basis, which I believe is vital to student progress. When students respond to that feedback in a way that allows the educator to ascertain measurable improvement in student work and attitude, only then can he or she be sure that their efforts are effective.

My personal philosophy on assessment is that it is less about measuring achievement in terms of set standards than it is about communication and individual progress as a result. Art is probably the only academic subject in which this philosophy can actually be put to effective use because more often than not there are no right or wrong answers. Every child sees the world through unique and precious eyes. Who is to say that ones view is any more accurate or correct than anothers? This is why critiques can be such an invaluable tool to utilize in the classroom. Critiques allow students to learn from each other, and they also provide teachers with valuable opportunities to acquire knowledge as to how and why students learn. I will most likely always practice critique in my classroom, although for sensitive junior high students I have created a specialized critique that I intend to use as formative assessment in my unit plan. I am envisioning a small group critique in which each student contributes a pertinent piece of helpful information they observe in the work of their peers. I will make sure to encourage students to write down observations of what is working well in the artwork being observed as well as where there is room for improvement. Out of the created list, the small groups will pick four of their observations to present to the class, two of them being positive and two being more along the lines of constructive criticism. I feel that this balance will be more likely to prevent students from becoming discouraged and overwhelmed, as I have often experienced in harsher college level critiques.

In my assigned chapter I also read about an assessment strategy called "Measuring Sticks" that I will most likely make use of at some point in my unit plan. In this form of assessment, several very different works by a variety of artists are displayed for the students, though all of them connected by the topic being taught. Students are asked to place their finished works of art next to that of the artist with whom they feel most closely connected, as well as give an explanation of their reasoning. It’s another way all of the students can learn and gain inspiration from each other, and the exposure to a variety of styles further perpetuates the idea that there are no right or wrong answers in art.

Big Idea Book pg. 7 & 8

Art Advocacy Presentation

Ok so maybe I am technologically impaired but I could not figure out how to post this power point presentation any other way, so I took pictures!

Big Idea Guest Artist

My Big Idea guest artist showed me how to look at my project through a fresh lense. Our pairing up was very interesting because key elements from our individual big ideas showed up in each others projects completely by accident. Though my big idea is Love, learning how to love and be loved is heavily influenced by our Identity, which is her big idea. Her use of mirrors, time pieces, sharp objects and a quartz crystal heart paired with the text "Love is patient, love is kind" put a completely new and delightful spin on my perspective. Love is so much more than romance. It is a both a quest and a way of life. We chase it, find it, lose it and rise above to find it again, all in the same lifetime. Love can be quaint and beautiful, as I like to depict it, but it can also be chaotic and dangerous, as we see here in this unique work of art.

Big Idea 3 & 4

Concept Map: Potential Model Artists for My Big Idea "Love"

 

Blog Entry #2

   This MUMAA artwork contains the big idea's of power, struggle, fate, fear, and most importantly, story. Myth has it that Lacoon (center) was killed after attempting to expose the ruse of the Trojan horse. The snakes were sent by Posiedon to put an end to both Lacoon and his two sons. As outlandishly intriguing as this sounds, I think I would have to run with the big idea of story for this particular piece.
   Using this artwork and the story behind it as an example, I would ask my Tiger Artists to develop a myth of thier own that involves two or three characters. The myth could be about themselves or another person or animal. I would then have the students create thier own mini-sculptures depicting a scene from their myth, keeping in mind the essential questions asked and key concepts discussed.
   Essential questions would include: What can body language and facial expression tell us about the way the characters are feeling? Why do you think the artist chose to depict this exact moment in the story? How does the scale of the figures let us know which one is Lacoon, the main character?
   Key concepts would include: Character (Who are the characters?), mood (How does this artwork make you as the viewer feel when gazing?), tension (What do you think is about to happen next and how does that create tension?), Plot (Do we need to know the backstory for this piece to be meaningful?)

Big Idea Box, pg. 1 & 2

"Journey Map" Artist's Statement

     I was born into a house of glass, sharp words and broken hearts. Over time I built a thick shell of hatred and numerous unhealthy coping mechanisms to keep me safe from the world and all who might seek to hurt me. I lived in this shell for most of my remembered life, never thinking that there might be something more beyond that barrier. The path to freedom was long and winding, filled with many stubborn obstacles and painful transitions. I will always and forever celebrate the day that shell broke away. Hope was born. Life became a whirlwind of confusion and exciting new possibilities as the search for purpose intensified. Meaning began to grow out of years of misery and decay; slowly but surely I began to feel myself blossoming into the person I was always meant to be. The key for which I had been searching so desperately was right there inside me the whole time! And just like that, life became a mission. Everything happens for a reason. I believe that I went through that hell so that one day I would be equipped to bring hope to to those traveling the same road, pointing each one towards a brighter tomorrow for us all. Long after I am gone I want the world to be a better place for my having existed. It is my most sincere desire that my students be inspired to set off a chain reaction of their own to work toward this same goal.

Journey Map

Blog Entry #1

I believe that art is a gateway into the human soul, a mysterious wonderland of endless possibilities. It is the only subject still taught in our schools that cannot (and should not) be taught by the books. So many 21st century art teachers like to go by the very basic "7 elements" and "7 principles" to which Olivia Guide refers in her article about postmodern principles... My 8th grade art teacher did it, and so did my Freshman and Sophomore teachers in high school art class. As an artist, I despised it. Sure the curriculum was easy. Anybody who wanted an A could have one. But if your not challenged it is impossible to grow. Every art class I ever took in within the K-12 period was heartbreakingly dumbed down, lacking in depth, and bereft of perspective. We never discussed ground-breaking artists from whom we might draw some much needed inspiration. The concept of "big ideas" and how they can be connected and personalized for individual works of art was absolutely unheard of. In the beginning of my collegiate pursuit of this career, I vowed to never be that art teacher. Teaching visual art is so much more than cut and dry principles and elements, and to simplify it to such is a discredit to the subject. Not that these things aren't important... They do serve as timeless building blocks upon which we will always be able to fall back. However, art is an exploratory matter by nature and deserves to be pushed to the next level. To be an effective teacher, I will need to have extensive knowledge of the dynamics of the art world and its past, present, and future. I will need to be very familiar with my example artists and thier big ideas, and I will have to be able to make the subject matter real to my students by presenting it in a way that they can relate to. I will see evidence of my effectiveness as a teacher through the art my students produce, the questions they ask, and the look in thier eyes. There's is an entire universe of beauty, inspiration and understanding just waiting to be unlocked through the fine arts, and a knowledgeable, responsive teacher is the key. It's good to know that 21st century professionals hold the same opinion. It is my duty to every child placed in my care to be this key, and I can't wait to get started!

My ever growing list of big ideas

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