Review of research in visual arts education

Description based on: No. 8 (spring 1978)

The use of visual aids in teaching

Cover included in paging.

Special education teachers' perspectives on teaching middle school students with severe emotional disturbance

The voices of special education teachers who educate middle school students with severe emotional disturbance (SED) have been largely unheard in the educational forum and in the discussion about raising the academic achievement of middle school students with SED. These students continue to have high attrition rates and low levels of academic achievement. This study described and analyzed the perspectives of five special education teachers regarding appropriate instructional strategies for educating middle school students with SED. It also explored these teachers' opinions concerning difficulties they experienced in raising the academic achievement of students with SED and some of the solutions for overcoming these challenges. The professional literature emphasizes the importance of teacher knowledge (Altrichter, Posch, & Somekh, 1996; Clandinin & Connelly, 1996) and also offers suggestions for appropriate instructional strategies for educating students with SED (Bauer, Keefe, & Shea, 2002; Heward, 2000; Kauffman, 2001; Polloway, Patton, & Serna 2001). ^ A qualitative case study was employed to describe and analyze the five participants' perspectives on teaching middle school students with SED. The sources of data collection were interviews, observations and analysis of documents. Data presentation was from the perspective of the participants in dialogue with the interpretations of the researcher and against the backdrop of the professional literature and the researcher's critical theory philosophy. One of the major themes that emerged from the analysis was the teachers' insistence on the students' need for discipline tempered with teacher nurturing and playfulness. One concern was the need for teacher training in current appropriate, research-based instructional strategies for educating students with SED. ^ As a result of this study, one of the recommendations made was for more rigorous standards of re-certification and professional development of certified teachers who educate students with SED. ^

Art teachers' attitudes toward the Florida Sunshine State Standards for the Visual Arts

The State of Florida developed the Sunshine State Standards For the Arts Curriculum Framework as part of an initiative to raise student achievement in response to national calls for educational reform. The content-based art education approach used in the Sunshine State Standards reflects a viewpoint advocated by prominent art educators and professional art education organizations for more than two decades. Successful implementation of the Sunshine State Standards curriculum approach requires that art teachers be acquainted with and knowledgeable in the four foundational content areas of the arts: studio art, art history, art criticism, and aesthetics. ^ The purpose of this study was to examine art teachers' viewpoints and attitudes toward the content-based art education approach contained in the Florida Curriculum Framework Sunshine State Standards for the Visual Arts. A survey was conducted in order to obtain these viewpoints. Surveys were sent to 440 Miami-Dade County Public School art teachers. A total of 138 elementary, middle and senior high school level art teachers participated in the study. ^ Factors and variables explored in this study included teachers' level of education, type of community, and grade levels taught. The principal methods of analyses employed in the study were descriptive statistics used to display frequencies and percentages. In addition, cross tabulations with Chi-square tests, and Mann-Whitney U tests were used to examine responses to the survey items. ^ The results of the study revealed that the majority of art teachers supported the content-based art education approach used in the Sunshine State Standards for the Arts. However significant differences appeared in the responses to survey items as a result of art teachers' level of education, type of community, and grade levels. The results of this study indicate a need for further examination of teacher training and professional development programs. ^

The effectiveness of direct -instruction and student -centered teaching methods on students' functional understanding of plagiarism

In an attempt to improve students' functional understanding of plagiarism a variety of approaches were tried within the context of a more comprehensive information literacy program. Sessions were taught as a one hour "module" inside a required communications skills class at a small private university. Approaches taken included control sessions (a straightforward PowerPoint presentation of the material), direct instruction sessions (featuring mostly direct lecture but with some seatwork as well), and student-centered sessions (utilizing role playing and group exercises). Students were taught basic content and definitions regarding plagiarism, what circumstances or instances constitute plagiarism, where to go for help in avoiding plagiarism, and what constitutes appropriate paraphrasing and citation. Pre-test and post-test scores determined students' functional understanding primarily by their ability to recognize properly and improperly paraphrased text, content understanding by their combined total score on a multiple choice quiz, and their attitude and conceptual understanding by their ability to recognize circumstances which would constitute plagiarism. While students improved across all methods the study was unable to identify one that performed significantly better than the others. The results supported the need for more education with regard to plagiarism and suggested a need for perhaps more time on task and/or a mixed approach towards conveying the content.

Do the Messages Matter? An Investigation of Classroom Messages and College Students’ Personal Theories about Education

Students hold a number of personal theories about education that influence motivation and achievement in the classroom: theories about their own abilities, knowledge, and the learning process. Therefore, college instructors have a great interest in helping to develop adaptive personal theories in their students. The current studies investigated whether specific messages that instructors send in college classroom might serve as a mechanism of personal theory development. Across 2 studies, 17 college instructors and 401 students completed surveys assessing their personal theories about education at the beginning and end of college courses. Students and instructors reported hearing and sending many messages in the classroom, including instructor help messages, conciliatory messages, uncertainty in the field messages, differential ability messages and generalized positive and negative feedback. Between-class and within-class differences in message reports were associated with students’ personal theories at the end of their courses, controlling for initial personal theories. Students’ initial personal theories were also related to the messages students reported hearing. The findings demonstrate the utility of assessing non-content messages in college classrooms as potential mechanisms for changing students’ personal theories in college. Implications for research and practice are discussed.

Teaching literacy in the new media age through the arts

Many school literacy practices often ignore youths' creativity in the 'new media age'. School curricula often do not acknowledge the range of skills adolescents acquire outside formal education. Youths' new multi- modal social and cultural practices - as they fashion themselves creatively in multiple modes as different kinds of people in 'New Times' - points to the liberating power of new technologies that embrace their imagination and creativity. In two middle years classes, adolescents' creativity was recognised and validated when they were encouraged to re-represent curricular knowledge through multi-modal design (New London Group 1996). The results suggest the changed classroom habitus produced new and emergent discursive and material practices where creativity emerges as capital in an economy of practice. Recommendations are put forth for schools to recognise adolescents' creativity - that often manifests itself through their cultural and social capital resources - as they integrate and adapt to the new affordances acquired through their out-of-school literacy practices.

Arts education partnerships in Australia: spaces and places for teaching and learning

The arts over the centuries have continued to pervade, direct and define our societies. In Australia, they are seen as an important and influential mechanism of pedagogies. In arts education students explore and express their identity and build understanding of their worlds through learning by doing and social interaction. This long-established position is endorsed by contemporary arts education pedagogies that encourage students to look, listen, learn, think, and work as artists in new places and spaces. The forthcoming Australian Curriculum: The Arts (dance, drama, media arts, music, and visual arts) will require consideration of the students’ own cultures and the cultures of their communities, region, and the wider world. Interaction between the students and the wider arts community are central to this approach. Using narrative inquiry, reflective practice, and document analysis as our methodologies, we describe ways of seeing, knowing, and learning between artists, students, schools, education authorities, and universities in the Australian state of Victoria. The authors contend that collaborative partnerships take many forms and provide opportunities for exploration of pedagogies that foster strong relationships between arts education and the arts industry.

Students’ perceptions of teaching and learning: the influence of students’ approaches to learning and teachers’ approaches to teaching

Nearly 500 secondary students in 24 classes were surveyed and four students in each class interviewed concerning their approaches to learning and perceptions of their classroom environment. While interviewed students with deep approaches to learning generally demonstrated a more sophisticated understanding of the learning opportunities offered to them than did students with surface approaches, teaching strategies also influenced students' perceptions. When teachers focused strongly on actively engaging students and creating a supportive environment, students with both deep and surface approaches focused on student-centred aspects of the class. In contrast, when traditional expository teaching methods were used exclusively, students with deep and surface approaches both focused on transmission and reproduction.

The studio sans frontières : the open-studio as an answer to the challenges of teaching contemporary art

Since at least the 1960s, art has assumed a breadth of form and medium as diverse as social reality itself. Where once it was marginal and transgressive for artists to work across a spectrum of media, today it is common practice. In this ‘post-medium’ age, fidelity to a specific branch of media is a matter of preference, rather than a code of practice policed by gallerists, curators and critics. Despite the openness of contemporary art practice, the teaching of art at most universities remains steadfastly discipline-based. Discipline-based art teaching, while offering the promise of focussed ‘mastery’ of a particular set of technical skills and theoretical concerns, does so at the expense of a deeper and more complex understanding of the possibilities of creative experimentation in the artist’s studio. By maintaining an hermetic approach to medium, it does not prepare students sufficiently for the reality of art making in the twenty-first century. In fact, by pretending that there is a select range of techniques fundamental to the artist’s trade, discipline-based teaching can often appear to be more engaged with the notion of skills preservation than purposeful art training. If art schools are to survive and prosper in an increasingly vocationally-oriented university environment, they need to fully synthesise the professional reality of contemporary art practice into their approach to teaching and learning. This paper discusses the way in which the ‘open’ studio approach to visual art study at QUT endeavours to incorporate the diversity and complexity of contemporary art while preserving the sense of collective purpose that discipline-based teaching fosters. By allowing students to independently develop their own art practices while also applying collaborative models of learning and assessment, the QUT studio program aims to equip students with a strong sense of self-reliance, a broad awareness and appreciation of contemporary art, and a deep understanding of studio-based experimentation unfettered by the boundaries of traditional media: all skills fundamental to the practice of contemporary art.

Why a child needs a critical eye, and why the art classroom is central in developing it

It is a common acceptance that contemporary schoolchildren live in a world that is intensely visual and commercially motivated, where what is imagined and what is experienced intermingle. Because of this, contemporary education should encourage a child to make reference to, and connection with their ‘out-of-school’ life. The core critical underpinnings of curriculum based arts appreciation and theory hinge on educators and students taking a historical look at the ways artists have engaged with, and made comment upon, their contemporary societies. My article uses this premise to argue for the need to persist with pushing for critique of/through the visual, that it be delivered as an active process via the arts classroom rather than as visual literacy, here regarded as a more passive process for interpreting and understanding visual material. The article asserts that visual arts lessons are best placed to provide fully students with such critique because they help students to develop a ’critical eye’, an interpretive lens often used by artists to view, analyse and independently navigate and respond to contemporary society.

Reflections around artefacts - using a deliberative approach to teaching reflective practices in fashion

The importance of reflection in higher education, and across disciplinary fields is widely recognised; it is generally included in university graduate attributes, professional standards and program objectives. Furthermore, reflection is commonly embedded into assessment requirements in higher education subjects, often without necessary scaffolding or clear expectations for students. Despite the rhetoric around the importance of reflection for ongoing learning, there is scant literature on any systematic, developmental approach to teaching reflective learning across higher education programs/courses. Given that professional or academic reflection is not intuitive, and requires specific pedagogic intervention to do well, a program/course-wide approach is essential. Over the last 18 months, teaching staff from five QUT faculties: Business, Creative Industries, Education, Health and Law, have been involved in an ALTC-funded project to develop a systematic, cross-faculty approach to teaching and assessing reflection in higher education. This forum will present a reflective model that staff have used in their teaching and they will also share their ideas and approaches to reflective teaching and assessment with colleagues from QUT and other universities. A poster format will enable forum participants to talk informally with the presenters about how the approaches and resources they have developed for units have contributed to the development of the reflective model which can be applied across faculties. Participants will also be able to explore the web resources which have been developed as part of the project.