4 PILLARS TO TEACHING by R. Van Dyke
#1 REAL-WORLD and RELEVANT
“ Break windows into the walls of the school to let in the real world.” (Hahn)
Background
As the Industrial Revolution shifted learning from hands-on apprenticeships to streamlined schoolhouse education, lecture-style learning became the new tradition. The conveyor belt approach to education has attributed to disengaged, passive learners over the past two centuries. Recently, varieties of educational philosophies have assisted teachers in motivating their students to become active learners. Studies have shown that students who see relevance in a topic will be more actively engaged in the learning (Paul & Mukhopadhyay, 2004). Teachers who engage the multiple intelligences through real-world experiences have found an increase in student achievement, a decrease in misbehavior and an increase in parental involvement (Kornhaber, 2004 as cited in Gardner, 2004). Theories that fit under the umbrella of real-world projects include project-based learning, problem-based learning, experiential learning and place-based learning.
# 2 OBSERVATION and CRITICAL THINKING
"Every inch is like a whole new world." (Georgia O'Keeffe)
Georgia O'Keefe, one of the greatest female modern artists of the 20th century, spent much of her time in contemplation, observation and investigation. As a high school art teacher in her early years, Georgia often took her students on long excursions to explore the world around them. In a rush-rush world today it is rare to find student allowed to sit and observe. Although video games and television has shortened the attention span of young people, it is possible to draw out the natural curiosity and contemplation of a young person.
There are a variety of ways that I teach observation and critical thinking in the art room.
Visual Thinking Strategy
Class Critiques
Build/Draw
Still Life
Color Theory
Visual Thinking Strategy
I enjoy walking students through observation and critical thinking. Opposite of what most people think, students LOVE talking about art! To make them critical viewers and thinkers we use these steps each time we look at art.
Observation (talking only about what is in the artwork no assumptions), Analyzation (of elements and principles used in composition), Interpretation (through picture clues, title clues -what do you think the picture is about or the artist might be communicating?), Judge (taking all the things discussed into consideration, did the artist use the right medium and composition to communicate an effective work of art?) You may view more of this strategy at Visual Thinking Strategy
Class Critiques
Class critiques build community within the classroom, as well as presentation skills, public speaking skills, and a language for art making.
Critiques can be done in a variety of ways.
#3 COLLABORATION and PROBLEM SOLVING
“The capabilities we once disdained or thought frivolous—the metaphorically “right brain” qualities of inventiveness, empathy, joyfulness, and meaning—increasingly will determine who flourishes and who flounders. For individuals, families, and organizations, professional success and personal fulfillment now require a whole new mind.” (Pink, D.)
Background
Problem–based learning was begun over 25 years ago with the intention of presenting a problem for the learner to work through individually or as a team. Its leading methodology for creating active learning is to begin with a question or problem to solve. Problem-based learning is a total approach to educating a child. Interpreted by Barrows and Kelson ( 2001 ) as cited in Maricopa for Learning:
PBL [Problem-based learning] is both a curriculum and a process. The curriculum consists of carefully selected and designed problems that demand from the learner acquisition of critical knowledge, problem solving proficiency, self-directed learning strategies, and team participation skills. The process replicates the commonly used systemic approach to resolving problems or meeting challenges that are encountered in life and career (Maricopa for Learning, 2001).
In problem-based learning the roles of student and teacher are reversed. Students are given more responsibility for their learning, which develops an intrinsic desire for discovery and investigation of a problem. This approach creates a healthy pattern of success for life-long learning to take place. Atypical to the traditional role of a teacher, an instructor using problem-based learning becomes a facilitator; leading class discussions, mentoring; assisting with valuable resource materials and evaluator; developing appropriate student assessments that provide the “scaffolding” in which the students will use to explore their solution. This hands-off approach creates more proficient problem-solvers, self-directed learners and citizens that are capable of working in community (Barrows & Kelson, 2001). As in many of the current educational trends problem-based learning positions students in real-world simulations and encourages educators to develop relevant, meaningful curriculum.
#4 TIME and REFLECTION
Our society has a misconception that young children can’t focus on something for any length of time. If you were to observe a child at natural play though, most are completely absorbed in their exploration of an insect and its wings, or love to sing the same song over and over. Applying the Reggio Approach of capturing the child’s interest and harnessing it, projects can often go for multiple days or even weeks. Great work needs a great amount of time. I rarely have a one day project, and believe that process is more important than product. This can be a dilemma for an art teacher who feels the pressure to have students bring a work home every class.
Most of my classroom projects extend for 4 class periods. The first to invite and explore, the second and third to create and the fourth to reflect. Each one of these classes is vital to a student's artistic development and critical thinking skills.
Documentation is a wonderful way to share with parents what their child is doing and learning in the art room. Instead of a quick 35 minute project going home, my students trust that I will give them the time they need to explore an idea thoroughly. To satisfy anxious parents I photograph students at work and write out mini “interviews” which I post outside the classroom and submit to the newsletter. Not only does this aid in communication with adults, but also builds a child’s ability to communicate and reflect on what he or she is learning.
Reflection
All of us, after a fun vacation or special moment, love to look at photos of the occasion. The same is very true for young people after they have worked on a project. This reflection can be done through photographing and documenting the process and then having a slide show afterward, or hanging the photos in the hall. Students could write out a story or do mini interviews with each other.
“ Break windows into the walls of the school to let in the real world.” (Hahn)
Background
As the Industrial Revolution shifted learning from hands-on apprenticeships to streamlined schoolhouse education, lecture-style learning became the new tradition. The conveyor belt approach to education has attributed to disengaged, passive learners over the past two centuries. Recently, varieties of educational philosophies have assisted teachers in motivating their students to become active learners. Studies have shown that students who see relevance in a topic will be more actively engaged in the learning (Paul & Mukhopadhyay, 2004). Teachers who engage the multiple intelligences through real-world experiences have found an increase in student achievement, a decrease in misbehavior and an increase in parental involvement (Kornhaber, 2004 as cited in Gardner, 2004). Theories that fit under the umbrella of real-world projects include project-based learning, problem-based learning, experiential learning and place-based learning.
# 2 OBSERVATION and CRITICAL THINKING
"Every inch is like a whole new world." (Georgia O'Keeffe)
Georgia O'Keefe, one of the greatest female modern artists of the 20th century, spent much of her time in contemplation, observation and investigation. As a high school art teacher in her early years, Georgia often took her students on long excursions to explore the world around them. In a rush-rush world today it is rare to find student allowed to sit and observe. Although video games and television has shortened the attention span of young people, it is possible to draw out the natural curiosity and contemplation of a young person.
There are a variety of ways that I teach observation and critical thinking in the art room.
Visual Thinking Strategy
Class Critiques
Build/Draw
Still Life
Color Theory
Visual Thinking Strategy
I enjoy walking students through observation and critical thinking. Opposite of what most people think, students LOVE talking about art! To make them critical viewers and thinkers we use these steps each time we look at art.
Observation (talking only about what is in the artwork no assumptions), Analyzation (of elements and principles used in composition), Interpretation (through picture clues, title clues -what do you think the picture is about or the artist might be communicating?), Judge (taking all the things discussed into consideration, did the artist use the right medium and composition to communicate an effective work of art?) You may view more of this strategy at Visual Thinking Strategy
Class Critiques
Class critiques build community within the classroom, as well as presentation skills, public speaking skills, and a language for art making.
Critiques can be done in a variety of ways.
#3 COLLABORATION and PROBLEM SOLVING
“The capabilities we once disdained or thought frivolous—the metaphorically “right brain” qualities of inventiveness, empathy, joyfulness, and meaning—increasingly will determine who flourishes and who flounders. For individuals, families, and organizations, professional success and personal fulfillment now require a whole new mind.” (Pink, D.)
Background
Problem–based learning was begun over 25 years ago with the intention of presenting a problem for the learner to work through individually or as a team. Its leading methodology for creating active learning is to begin with a question or problem to solve. Problem-based learning is a total approach to educating a child. Interpreted by Barrows and Kelson ( 2001 ) as cited in Maricopa for Learning:
PBL [Problem-based learning] is both a curriculum and a process. The curriculum consists of carefully selected and designed problems that demand from the learner acquisition of critical knowledge, problem solving proficiency, self-directed learning strategies, and team participation skills. The process replicates the commonly used systemic approach to resolving problems or meeting challenges that are encountered in life and career (Maricopa for Learning, 2001).
In problem-based learning the roles of student and teacher are reversed. Students are given more responsibility for their learning, which develops an intrinsic desire for discovery and investigation of a problem. This approach creates a healthy pattern of success for life-long learning to take place. Atypical to the traditional role of a teacher, an instructor using problem-based learning becomes a facilitator; leading class discussions, mentoring; assisting with valuable resource materials and evaluator; developing appropriate student assessments that provide the “scaffolding” in which the students will use to explore their solution. This hands-off approach creates more proficient problem-solvers, self-directed learners and citizens that are capable of working in community (Barrows & Kelson, 2001). As in many of the current educational trends problem-based learning positions students in real-world simulations and encourages educators to develop relevant, meaningful curriculum.
#4 TIME and REFLECTION
Our society has a misconception that young children can’t focus on something for any length of time. If you were to observe a child at natural play though, most are completely absorbed in their exploration of an insect and its wings, or love to sing the same song over and over. Applying the Reggio Approach of capturing the child’s interest and harnessing it, projects can often go for multiple days or even weeks. Great work needs a great amount of time. I rarely have a one day project, and believe that process is more important than product. This can be a dilemma for an art teacher who feels the pressure to have students bring a work home every class.
Most of my classroom projects extend for 4 class periods. The first to invite and explore, the second and third to create and the fourth to reflect. Each one of these classes is vital to a student's artistic development and critical thinking skills.
Documentation is a wonderful way to share with parents what their child is doing and learning in the art room. Instead of a quick 35 minute project going home, my students trust that I will give them the time they need to explore an idea thoroughly. To satisfy anxious parents I photograph students at work and write out mini “interviews” which I post outside the classroom and submit to the newsletter. Not only does this aid in communication with adults, but also builds a child’s ability to communicate and reflect on what he or she is learning.
Reflection
All of us, after a fun vacation or special moment, love to look at photos of the occasion. The same is very true for young people after they have worked on a project. This reflection can be done through photographing and documenting the process and then having a slide show afterward, or hanging the photos in the hall. Students could write out a story or do mini interviews with each other.
Rachael Van Dyke's efforts to integrate real-world scenarios and studio visits into her curriculum had a profound impact on me as a student. The resulting exposure to working men and women helped de-mystify the professional world at a time when it felt distant and intimidating. My city became a more inviting place as a greater number of artist and companies opened their doors to us. In addition, I was empowered to communicate with them down the road because introductions had already been made. I am grateful to have begun that process in high school under Rachael's direction.
D. Pettinga, Industrial Designer (former student)
D. Pettinga, Industrial Designer (former student)
