Representations of Working in Arts Education

Christopher Klopper, Susanne Garvis, Narelle Lemon

Description

Arts education provides students with opportunities to build knowledge and skills in self-expression, imagination, creative and collaborative problem solving, and creation of shared meanings. Engagement in arts education has also been said to positively affect overall academic achievement, and the development of empathy. This book provides key insights from stakeholders across the teaching and learning spectrum and offers examples of pedagogical practice to those interested in facilitating arts education.

Chapter 1: Listening to Stories: A Framework and Introduction to Why It Is Important to Really Hear What Happens in Arts Education – Narelle Lemon, Susanne Garvis and Christopher Klopper

Chapter 2: The Lived Experience: Finding Joy Through Working in the Arts – Christopher Klopper

Chapter 3: Twitter for Arts Community Collaborations and Networking: Social Impact of Fostering Partnerships – Narelle Lemon

Chapter 4: Building Capacity and Confidence Through Arts-Based Learning Experiences: A Whole-School Approach – Christopher Klopper

Chapter 5: Something Old, Something New, Something Borrowed but Not Blue: The Educational Impact of the Arts – Susanne Garvis and Christopher Klopper

Chapter 6: ‘Whose Art Is It – Mine, Yours or Ours?’: Exploring Ethical Impact – Susanne Garvis

Chapter 7: Money Makes the World Go Round: The Economic Impact of Arts in Education – Susanne Garvis

Chapter 8: Innovative Partnerships: Opportunities to Create, Make, Explore and Respond in the Arts – Narelle Lemon and Susanne Garvis

Chapter 9: Transforming Pedagogy from Listening to Young People’s Voices: Catalytic Impact on a Gallery – Narelle Lemon

Chapter 10: Pitfalls and Speed Bumps of Being an Arts Educator: Risk and Negative Loss Impact – Narelle Lemon and Susanne Garvis

Chapter 11: Conclusion: Parallels, Overlaps and Potholes in Sharing Stories: ‘Which Way From Here?’ – Narelle Lemon, Susanne Garvis and Christopher Klopper

Sujets

• Arts visuels
• Arts visuels
• Test-Taking Skills
• Study Aids
• Subjects
• Teaching
• EDUCATION
• Study
• General officer
• Subject
• General
• Cultural Studies
• ART

Informations

• Publié par: Intellect Books
• Date de parution: 01 novembre 2014
• Nombre de lectures: 0
• EAN13: 9781783202621
• Langue: English

Extrait

First published in the UK in 2014 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2014 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2014 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Gabriel Solomons
Copy-editor: MPS Technologies
Production manager: Tim Elameer
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-187-7
ePDF ISBN: 978-1-78320-261-4
ISBN 978-1-78320-262-1
Printed and bound by Hobbs, UK
Table of Contents
List of Figures, Tables, Images and Cases
Foreword
Chapter 1: Listening to Stories: A Framework and Introduction to Why It Is Important to Really Hear What Happens in Arts Education1
Narelle Lemon, Susanne Garvis and Christopher Klopper
Chapter 2: The Lived Experience: Finding Joy Through Working in the Arts
Christopher Klopper
Chapter 3: Twitter for Arts Community Collaborations and Networking: Social Impact of Fostering Partnerships
Narelle Lemon
Chapter 4: Building Capacity and Confidence Through Arts-Based Learning Experiences: A Whole-School Approach
Christopher Klopper
Chapter 5: Something Old, Something New, Something Borrowed but Not Blue: The Educational Impact of the Arts
Susanne Garvis and Christopher Klopper
Chapter 6: ‘Whose Art Is It – Mine, Yours or Ours?’: Exploring Ethical Impact
Susanne Garvis
Chapter 7: Money Makes the World Go Round: The Economic Impact of Arts in Education
Susanne Garvis
Chapter 8: Innovative Partnerships: Opportunities to Create, Make, Explore and Respond in the Arts
Narelle Lemon and Susanne Garvis
Chapter 9: Transforming Pedagogy from Listening to Young People’s Voices: Catalytic Impact on a Gallery
Narelle Lemon
Chapter 10: Pitfalls and Speed Bumps of Being an Arts Educator: Risk and Negative Loss Impact
Narelle Lemon and Susanne Garvis
Chapter 11: Conclusion: Parallels, Overlaps and Potholes in Sharing Stories: ‘Which Way From Here?’
Narelle Lemon, Susanne Garvis and Christopher Klopper
List of Figures, Tables, Images and Cases
List of Figures
Figure 1: Summary of pre-service teachers’ engagement with Twitter during the study of the core course Visual Arts
Figure 2: The cultural ecosystem of education (adapted from Bronfenbrenner 1979)
Figure 3: Visual representation of the ways of seeing pilot project’s five stages
Figure 4: Student-centred pedagogical decisions in integrating digital camera in the gallery and school setting
List of Tables
Table 1: Week 1: Year Prep–Year Three
Table 2: Week 2: Year Four–Year Seven
Table 3: Week 3: Year Prep–Year Three
Table 4: Week 4: Year Four–Year Seven
Table 5: Week 5: Year Prep–Year Three
Table 6: Week 6: Year Four–Year Seven
Table 7: Week 7: Year Prep–Year Seven
Table 8: Week 8: Year Four–Year Seven
Table 9: Catalytic impact of integrating a digital camera in a gallery setting to support listening to young people’s voices
List of Images
Image 1: Melanie’s performance art visual narrative that represented her lived experiences of viewing art by the artist Andy Warhol
Image 2: Melanie’s planning for performance art visual narrative
Image 3: Jim sharing his visual narrative with the NGV staff when they visited the school
Image 4: Tim’s artwork and reflection inspired by his visit to the NGV
Image 5: Marcus sharing the shield he made inspired by the South Pacific artwork he viewed during the gallery visit
List of Cases
Case 1: The circle of life
Case 2: Teaching is a performance
Case 3: Debi – ‘Facebook you are dropped!’
Case 4: Linda – ‘I have so much I want to share’
Case 5: Madhu – ‘Twitter in visual arts could be just what I need’
Case 6: Nora – ‘I’m loving the galleries you visit’
Case 7: There is not enough time to teach the arts
Case 8: Smarts Grammar School
Case 9: John’s College
Case 10: Evelyn Regional Conservatorium of Music
Case 11: Tenderville city
Case 12: Treetops Community School
Case 13: Smithfield School
Case 14: Darville All Girls’ School
Case 15: Maxton School
Case 16: Exploring public art while collaborating with others
Case 17: Video annotation to reflect on own arts practice development
Case 18: Enhancing the musical development of students
Case 19: Melanie
Case 20: Jim
Case 21: Tim
Case 22: Marcus
Case 23: Rochelle
Case 24: Tennille’s confusion
Case 25: The balancing act
Case 26: Sharing my passion
Case 27: Policy intrusion
Foreword
The tables of the art room are covered in large sheets of white paper. In front of the paper are arranged selections of pencils, crayons, pastels, charcoal and thick marker pens. The pencils are newly sharpened. The crayons and pastels are perfect cylinders with enticing colour protruding from their printed paper overcoats. The charcoal is thin and willowy or finger-thick, which echoes the snarls of the original branches; the marker pen a rebellious graffiti tool smelling of alcohol, indicative of a rebellious, liberating streak. To the artist, the table is set with the most delicious feast. And yet, in my first-year undergraduate art class, the prospective teachers look terrified. One brave student confesses, ‘I am no good at art, you know. I can’t draw. This is going to be the subject I will fail.’ Murmurs of agreement ripple through the room. It might be easy to discount such experiences as ‘first day’ nerves, and yet, undoubtedly, even the most artistic among us has remembered something similar: being the first person on the dance floor, forgetting your lines in the theatre production, having to sing on your own, the piano exam; the list goes on, but understanding these lived experiences is essential if quality arts education is to be implemented.
High-quality arts programmes do have impact. Despite criticism that says that it is almost impossible to determine causality in relation to arts and cultural education evaluation, it is very possible to use an ‘inductive’ analysis to ascertain both whether a programme of arts education is of high quality and then importantly, does it make a difference – in other words, does it have a positive impact. The clarity around these two aspects – quality and impact – emerged out of two pieces of extensive research.
Firstly, in 2004 I undertook an extensive inductive analysis of arts education programmes around the world for UNESCO. This work emerged out of a larger UNESCO programme that was aiming to ensure there was ‘Education for All’. In global terms, delivering on a goal as basic as comprehensive education for all children under 12 years of age is arguably enough of a challenge. But what if a child received poor quality education? Would it be better to not receive an education or to receive an education that might make the child learn to hate learning? So a more refined question began to be asked, that is, could all children receive quality education?
It was within this framework that I examined quality arts education around the world. This involved gathering hundreds of case studies from all over the world. The case studies ranged from massive national programmes, such as those in Canada, the United Kingdom and the United States of America, to small, locally based projects in Senegal, Bhutan, Brazil and Fiji, among others. As the hundreds of case studies gathered in piles on my desk, I began to analyse each one for what had worked and what had not worked. Rather than being predetermined, the themes were allowed to emerge from the data. These characteristics were mapped out on a large matrix. Quite quickly a very clear pattern began to form. No matter what the scale or scope of an arts education programme, it shared consistent groups of factors that defined quality.
All in all, there were ten clear factors, namely, partnership and collaboration; accessibility to all; flexible organizational structures; professional development; reflection and evaluation; local relevance; an inquiry-based approach; opportunities for performance and exhibition; championing leadership; and risk-taking. It was also evident that for maximum quality all ten of these characteristics should be present. The results of this work were that it was now possible to evaluate, with a relatively high degree of accuracy and consistency, if an arts education programme was good or not. This was an important step forward as it is possible, once quality has been established, to measure the impact of arts education programmes. Unfortunately, we know that while good quality arts programmes have a positive impact on the child, poor quality programmes have a negative impact on the child.
If we return to the scared teacher-education student, perhaps their fear of looking at the paper and drawing implements was due to negative arts experiences in their own development. Perhaps as you read that sentence in your own personal narratives you can recall such moments: the child whose teacher did not praise their painting, the child picked as the tree in the school play, the singer not included in the choir, the keen piano player whose music practice taught them to hate the piano, the dancer whose growth made them too tall, heavy or uncoordinated for the elite dance group, the aching legs on the gallery school excursion that convinced a child never to return, and so on. The impact of negative arts experiences run deeply within most people’s perceptions of the arts. Risk and negative loss factors can include opportunity costs, talent loss, personal loss, unhappiness, loss of enjoyment and loss of creativity. This is not just for children and young people. In the book passionate arts educators also highlight the con