prepwork (p. 3)– What tensions do you see in your classroom?
I might see a disconnect between the lessons I'm teaching and their relevance to the students' lives. I fear the dreaded question, "Why do we have to learn this?" A student asking this question may signal a lack of interest from the student, because my lesson isn't providing an authentic, engaging learning experience. Or it could signal a lack of understanding, because my explanation wasn't clear or the process and end goal wasn't made known. I also fear tension between a state-mandated, teach-to-the-test curriculum and my personal philosophy and pedagogical framework. I hope as a first-year teacher, I will not get caught in the undertow and drift away from my personal goals as a teacher, for my students and for art education.
– What do you want to do in your classroom that you're not now doing?
I could see not doing certain lessons
– What's preventing you?
What might prevent me is money. I could see myself (especially in the first few years, until I gain experience) struggling to make certain projects work because of lack of funding. I might not have the knowledge of how to improvise in techniques or supplies, or where to go to find cheaper materials.
I could find support through the other art educators in my building or district, also by doing research online–someone has probably already found the solution; I just need to find them. I can always count on support from the colleagues I've made at MU, as well. Bouncing around ideas is the best source of support.
prepwork for scratchwork (p. 5)What research questions are of interest to me?
When I thought through questions I have about my first year of teaching, I found that my main question was how can I implement 21st century curriculum and ways of thinking about art in my future classroom?
– What ideas do you have about ... Student Learning?
Students need to be engaged and need to have fun (or be fulfilled) in order for a lesson to be successful. They also need this creative outlet to provide an arena for right-brained thinking, especially as a breath of fresh air from the boundaries of standardized testing and curriculum.
– Curriculum?
I believe in the 21st century model of art curriculum, in which the 7+7 have taken the back seat and are considered helpful tools in the tool belt of art making, but are no longer the central focus of curricular development. Instead, Duncum and Gude's 7+7 take the lead in creating engaging lessons focused on big ideas to which every student can relate and respond.
– Teaching Strategies?
I believe in approaching the classroom as a celebration of our imagination and creativity. Community is one of the strongest assets in having a successful classroom experience for both teacher and student. Student-directed learning is just as important as teacher-directed learning; allowing the students to give input into what they want to learn will result in lessons that are more engaging, more authentic, more meaningful and that produce higher quality artwork.
– Subject Matter?
The more relatable the lessons are to the lives of our students, the more successful they will be. Big ideas as subject matter, not specific artists, art movements, or techniques – these are supporting roles while the big idea is the lead. That being said, the story is flat without supporting characters so they are necessary.
– The Culture at Large?
We are teaching the iKids generation in which our students are proficient at multi-tasking, multimodal forms of communication/entertainment, and working with multimedia. The art room is a perfect place to emphasize these skills they already possess while also incorporating the traditional skills of the past.
prepwork for bridgework (p. 7)I already know that IT IS POSSIBLE! There are so many art educators devoting their own research and skills into campaigning for a new wave of art education. I'm not alone in this fight for reform. But I also know, and have witnessed, other educators who have gone through the same pedagogical framework as myself and aren't practicing the Big Idea approach to lesson planning. I've even had this comment made to me before: "Big Ideas are great, but in reality it's hard to make every lesson have one." WHY? Are the teachers not trying hard enough? Is the set curriculum too strict? I want to develop every lesson with a big idea and never consider writing a lesson without one. But how do I do this, how do I overcome any obstacles that might stand in my way?
– Where would you go to answer your questions?
I would look at books and websites for artistic inspiration, teacher and artist blogs might lead to great resources, and Art:21 is a wonderful resource for contemporary artists and ideas. Looking to experts in the field, such as Gude, Duncum and Darts would provide additional ideas and expertise. Colleagues who share my views are some of the best resources for bouncing ideas back and forth.
prepwork for headwork (p. 9)– Who am I to be doing this research?
I am a future art educator of this generation and those that follow. I am young, enthusiastic and entering the field with new eyes; I haven't been beaten down by the rigmarole and stresses that veteran teachers have faced. I am a product of 21st century pedagogy and I am one of many who are campaigning for this new reform in a tired tradition of art education.
– Where did my own ideas/strategies come from?
Well I don't think I can call any of them "my own." Most of my personal philosophies of art education have been created through the influences of others and my educational background. My pedagogy classes have definitely opened my eyes to how I was taught art and how I would like to teach art.
prepwork for legwork (p. 10)– List of data sources I already have:
• Curriculum documents developed in 7750
• Spiral Workshop lessons
• Articles by experts (Gude, Duncum, etc.) that showcase their own research and experiences with new curricula
• Books that support creative thinking and stress its importance for the future (Gardner's 5 Minds for the Future and Pink's A Whole New Mind)
• TED videos from experts in the field, or not in the field, that support creative thinking (Tim Brown, Sir Ken Robinson, etc.)
• Colleagues and professors in the College of Ed, as well as other art educators
• Observations from my field experiences, in addition to the more in-depth experience of student teaching I have yet to receive
prepwork for eyework (p. 12)– Think about your process for solving problems (both short-term and long-term) in your daily life. What methods do you use?
• Short-Term: My most recent short term problem, aside from all the obstacles caused by our snowfall, involved my scheduling. I am a TA for a lab, something I love to do, something I have been doing for the past 4 semesters, and something I need financially in my life (it waives my tuition and pays a monthly stipend). The problem occurred because 3 out of the 4 TAs couldn't teach our Monday or Friday schedule labs. So in order to help my professor out, insure the students they would have a TA, and keep the job for myself, I had to figure out a way to rework my schedule. At the time it appeared my only two options were to a. drop my class or b. quit another job, both of which I couldn't afford to do. Instead, I talked to my art professor about leaving his class early in order to teach my lab and then coming back later in the afternoon to catch myself up and allow for more work time in the studio. Graciously he accepted my plea. Now I don't have to drop a class or quit one of my jobs. Thankfully, no bridges were burned and my schedule is where it needs to be.
• Long-Term: Since I can remember, I've always been self-conscious, especially when it comes to body image. I seem to be confident in most every other aspect of myself and my life, but when it comes to how I feel about my body that confidence goes missing. Overtime, I've allowed for fashion to mask this self-consciousness and fill that void with confidence. It's true what they say: when you look better, you feel better. I feel happy and content with my own fashion sense. This began in 7th or 8th grade (the peak of self-consciousness) when I started caring about what I wore and people noticed. I started receiving compliments from friends, from the 'popular' girls I was only semi associated with, and boys in my grade, which was a first. I felt better about myself. I've continued this into adulthood. Clothes make me feel good about myself, but this is a material solution to an emotional, psychological issue. I have to except myself for exactly who I am, without the cute clothes. In the past year or so, I've become very interested in studying and creating art about our social ideologies, especially about feminine beauty and sex appeal. I began to break down the messages that have been filtered into my unconscious for years and have directed my way of thinking. In realizing this power that social imagery and mass media has over my thinking about myself was daunting, yet liberating. I was 'awakened' and I'm now working to reverse the effects of years and years of emotional abuse by our society. Talking and creating art about this topic is a way for me to rediscover my confidence and positive body image.
• Comparing my short-term and long-term problems: In comparing my two problems, there was definitely more urgency in my short-term problem because it needed to be corrected immediately in order to meet a deadline, in this case the start of school. While I needed to arrive at a solution much more quickly with my short-term problem, the solution will only be beneficial for the remainder of the semester. This solution also involved the help of others. I needed the cooperation of my professor in order to arrive at a solution. Another difference is that this problem was brought to me by someone else, the professor for which I TA. I needed to find a solution from which she and I would benefit.
With my long-term problem, there was less urgency in terms of time, but there is urgency because the problem involves my emotional and psychological health. Others are involved in the journey of finding a solution, as emotional support, resources, art enthusiasts, etc. But while they are there as support, the problem-solving is primarily my concern because it is an internal struggle. Unlike the short-term solution, finding this solution is on-going and will benefit me the rest of my life.
prepwork for homework (p. 14)– Think about the outcome. What do you want to accomplish?
I believe that the end goal is a curriculum guide for my first year of teaching. I have the start of this from the curriculum documents my classmates and I created in 7750. We have the beginnings of some amazing lesson plans. I'd like to further my research in 21st century approahces to art making. I'd also like to polish, adapt, extend and add to these existing lessons to better fit my teaching methods and goals.
prepwork for footwork (p. 16)– Make a double list of strengths and weaknesses
• Strengths: After making my lists I found that one of my biggest strengths is my support. I have a plethora of individuals with whom I can share ideas. I have access to many veteran teachers who have experiences that will be valuable input for my own research. I also have the skill set do write curricular documents. Thankfully I've had the practice of including every important detail for a lesson to be complete. I'm enthusiastic and eager to get started in my own classroom. I'm an ideas person; I thrive off of hearing, sharing and coming up with ideas. The constant flow of ideas helps to keep my energy and enthusiasm alive.
• Weaknesses: One of my biggest weaknesses is fear of failing. I worry that I don't have enough experience to jump into the open waters of teaching. What if all my lessons fail? What if the students don't like/respect me? What if they leave my room and I haven't allowed art to touch their lives in some way? I set high expectations for myself, which is not necessarily a bad thing until I'm too hard on myself for not reaching them – something I'm working on. I haven't completely developed my skills in finding new happenings in art ed and contemporary artists, both of which can aid me in developing the curriculum I'm wanting. I need to practice these research skills.
prepwork for deskwork (p. 17)
– Inventory your potential as a working researcher (what needs to be organized before getting started)
First I need to organize my workspace. Clutter and unorganized resources are stressful and distracting, because my mind will be focused on cleaning instead of working. I need to organize a binder for printed resources. Finding a way to organize on my computer is also helpful. Creating specific folders for PDF articles, artwork, etc. I already have Pinterest which is a great tool for pinning images you like and want to keep in one place. I'd like to utilize some other blog, image storming, and bookmark-type applications to keep myself organized. I also need to organize my calendar by designating a specific time for me to devote to this research.
prepwork for homework (p. 18)
– What do you already know about your own writing process?
I know that I'm often a slow writer. It's a process for me. I have to start with the facts and quotes I want to include either typed in one place, highlighted within the documents I'm citing, or some other form of keeping those important ideas together. Sometimes I'll type the quotes I'm citing first in the order I want my thoughts to go and then fill in the rest; or I start at the beginning and enter the quotes as they fit within my thinking. I write a paragraph, read it, maybe edit, continue on to the next paragraph, and then start the process over.
– What audiences have you written for and in what genres?
I've written creative writing, research writing, journalistic writing for a wide range of audiences. My journalistic writings have always been more lifestyles and entertainment writing, nothing to newsy. This would be the first time I write a research paper that has the potential to be a scholarly article in a publication.
– How would you like to disseminate your research?
It might be nice to create a downloadable curriculum guide for other teachers to use, or maybe create a website like the Spiral Workshop for educators to check out.
* Chiseri-Strater and Sunstein. What Works? A Practical Guide for Teacher Research
