Archive for the 'Education' Category

Theoretical Approaches to Learning Art

Sunday, October 25th, 2009
Maritza M. Conde asked:


Theoretical Approaches to Learning Art

“Every child is an artist. The problem is how to remain an artist once he grows up.”

Picasso

As educational leaders, it is our task to enhance learning with the theories that we learn throughout our educational experiences so our children as Picasso so nicely put it could keep their imagination and continue being artists for the rest of their lives. Art is “the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others” according to Britannica Online. In the broadest sense art is the one subject that has stayed closest to the older Latin meaning, which roughly translates to “skill” or “craft,” and from an Indo-European root meaning “arrangement” or “to arrange.” The purpose of this article is to explore the applications of eight to ten theories and use them to teach art education, while explaining how the information contained within the matrix created, could be transferred, and implemented to the art education program, while evaluating the pros and cons of each theory to the arts.

Theories

In the 21st century the educational system of the United States of America is in a process of change, in which it is merging and integrating new curriculums, theories, and programs into the system. All of the programs that have been created are focused on minority students, women, and students who have shown in one way or another that are at risk of not having the requirements to succeed in this educational system. Yet the techniques required for teacher to interact with the students has also been changing from writing to typing, books to computers; chalk boards to white boards; lecturing to team work.

Philosopher-educator John Dewey suggested that Americans face a choice between education as a function of society and society as a function of education. . . .Democracy demands the latter and requires citizens to develop the capacity to interpret, understand, and analyze knowledge, as well as to effectively communicate information, ideas, and concepts. (Romanowski, 2006, 9A)

Yet, theories are not permanent. They change due to our needs, culture, and beliefs for workable or accurate explanations of what the truth and purpose of education (p. 4). This may be because a theory according to DeMarrais and LeCompte (1999) is the “way we organize and explain the world we live in” (p. 3). Throughout history, our social and cultural beliefs have been influencing the educational system with a range of social theories that include but are not limited to Functionalism, Marxism, Interpretivism, and Post-modernism, which have also influenced art. Geertz (1998) states that “these approaches place great importance on presentation of the “multiple voices” of all participants – especially less powerful participants such as women, members of minority groups, and students” (DeMarrais and LeCompte, 1999 p. 38). In other words, art education, science education, mathematics, and knowledge in general are important for all individual, no matter the sex, age, ethnicity, or social status. The learning theories used today in schools are not limited to social learning theory, behaviorism, cognitive dissonance, contiguity theory, cooperative learning, Gardner, Piaget, Situated learning, Skinner, Vygotsky, Weiner, and Constructivism among others.

Interpretive theory

The interpretive theory states that school planning requires a systematic plan that has predetermined objectives or standards like the NCLB Act of 2001, since written rules and procedures, hierarchy of authority, impartial treatment of students, hiring, have characterized it and advancement based upon official credentials of teachers. The function of our schools is to give the students the tools they need so in the future they would be able to make money, have technology and have the power to teach others what they would need for the future making them available for each student, teacher, and staff. This learner believes that the USA educational system is attempting to put together an ideal educational system with Bush’s implementation of the No Child Left behind Act of 2001.

Under this law, every child in every racial, economical, and demographic group in every public school of the nation must improve their test scores in math and science standardized tests. According to King-Sears (2005), the phrase “highly qualified teacher” used to “mean those who were fully certified and extraordinarily effective in teaching students” (p. 187) but today according to the NCLB guidelines a “highly qualified teacher will have a bachelor’s degree, be fully certified, and prove they know the content they teach” (p. 187) by taking content specialized examinations. Teachers must be able to help children connect their learning to their own experiences and provide opportunities for students to manipulate and use resources to maximize academic growth. Art education is a tool used by teachers in every content area to help students connect the content learned to their own personal experiences.

Change Theories

According to Shapiro (2005), a theory of change refers to “the causal processes through which change comes about as a result of a program’s strategies and action.” These theories explore the reasoning that leads program leaders to their inferences about how changes happen. Most of there theories of change requires ‘backward mapping’ or identify the outcomes of a program. According to Shapiro (2005), the theories of change are both explicit and implicit and most include:

Frame the specific problems to be addressed Frame their intervention goal Identify processes through which change happens Describe their strategies, principals and specific methods for intervention Delineate short-and long-term intended effects

Trait theory

The trait theory states that individuals are born with a series of inherited characteristics that gives a person the sufficient combination of traits that are suited for life, these traits can also be measured through the individual’s ability to perform a series of tasks or skills that will allow them to be efficient. This theory originated in the nineteenth century, when Gregory Mendel discovered that genes and inheritance played an important role in the characteristics and trait that an organism possessed. As the years passed, researchers focused into trying to discover the traits wanted for a particular task. In our case, many researchers focused on identifying the traits or skills needed to be successful in art.

In 1950, Myers & Briggs, a mother-daughter team, created a survey test that could identify sixteen traits that are thought to be inherited by simply answering a series of questions found at http://cbae.nmsu.edu/~dboje/teaching/490_ps1/step_1.htm . In 1974, Stogdill wrote a handbook in which he is able to identify a series of traits and skills that make a good artist such as creativity, diplomacy (that person can be tactful with others), clever, persuasive, observant, conceptually skilled, knowledgeable, organized, and a fluent speaker. Lots of other traits have been added to this theory depending on the model and organization that is implementing it. While other researchers like Machiaveli, McGregor, McClelland, Katz, Yukl, Flanagan, Bennis, and Boje continue to study and create more models based on inherited traits. While the new scientific discoveries on genes, characteristics, psychology, and chromosome dominance create more questions on the existing trait theories. Some of the questions this learner has are: 1) Does an artistic traits dominant or recessive. 2) Will scientists be able to identify a creativity gene? 3) Can a person with heterozygous genes be able to acquire and develop the traits or skills they would posses if their genes where homozygous? 4) Can we identify artists with a simple test?

Multiple Intelligence Theory

            Dr. Howard Gardner developed the theory of multiple intelligence in 1983, which suggests that the traditional notion of intelligence, based on the individuals I.Q. testing is limited, so he proposed eight different intelligences based on a broader range of human potential in children and adults. Dr. Gardner (1993) says that we esteem highly articulate or logical people of our culture and that we should place equal attention on individuals who show gifts in the other intelligences such as artists, architects, musicians, naturalists, designers, dancers, therapists, entrepreneurs, and other individuals that enrich our society. Our society unfortunately does not reinforce children that posses these gift and labels them as “learning disabled”, “ADD (attention deficit disorder”, or calls them underachievers. Dr. Gardner (2000) suggests that teachers should “be trained to present their lessons in a wide variety of ways using music, cooperative learning, art activities, role play, multimedia, field trips, inner reflection, and much more” According to Armstrong (1994),

The good news is that the theory of multiple intelligences has grabbed the attention of many educators around the country, and hundreds of schools are currently using its philosophy to redesign the way it educates children. The bad new is that there are thousands of schools still out there that teach in the same old dull way, through dry lectures, and boring worksheets and textbooks. The challenge is to get this information out to many more teachers, school administrators, and others who work with children, so that each child has the opportunity to learn in ways harmonious with their unique minds.

Cognitive Developmental Theory

Based on his life long research, Piaget felt that “students should not be seen as empty vessels to be filled by expert teachers, but rather active participants in the building of their own knowledge” (Nagarjuna, 2006). According to Murray (2007), Piaget concluded “that schools should emphasize cooperative decision-making and problem solving, nurturing moral development by requiring students to work out common rules based on fairness” (p. 2). Even though the explanations offered may be incorrect today, according to the latest adult sensibilities and research, but “the fact that children do offer explanations for these things shows that they are actively working to understand the world around them” (Nagarjuna, 2006).

Jean Piaget viewed intelligence as a process that help an organism adapt to its environment and proposed four major periods of cognitive development. The four development stages described in Piaget’s theory are (1) sensorimotor stage, (2) Preoperational stage, (3) Concrete operational stage, and (4) formal operational stage. Each cognitive structure in Piaget’s theory is defined by a series of traits, and corresponds loosely to specific age. These chronological periods are not rigid rules, just approximate values to set the stages in an order starting from birth to 2 years of age defining the sensorimotor stage, where the children experience the world through movement and senses and learn object permanence. The preoperational stage starts from the age of 2 to 7 years and the child has an acquisition of motor skills. In the concrete operational stage starts from 7 to 11 years and the children begin to think logically about concrete events that are taking place in their environment. In the formal operational stage begins after the age of 11 and it is when the child develops of abstract reasoning of the world around them.     

Vygotsky Cognitive Theory

Vygotsky’s theory is an attempt to explain consciousness as the end product of socialization in which he insists that children’s minds are shaped by the particular social and historical context in which they live and by their interactions with adults, explaining why educators will never be replaced with technology no matter the advances that we reach. His social development theories play a fundamental role in the development of cognition. Vygotsky (1978) states:

Every function in the child’s cultural development appears twice: first, on the social level, and later, on the individual level; first, between people (interpsychological) and then inside the child (intrapsychological). This applies equally to voluntary attention, to logical memory, and to the formation of concepts. All the higher functions originate as actual relationships between individuals (p.57).

Vygostsky’s theory of art developed a “dynamic overall approach by (1) the writer’s intentions, era, and background; (2) the form, content, and symbolism of the literary piece; and (3) the readers’ experience and interpretation of the work” (Lindqvist, 2003). Vygostsky did not regards art as something spiritual and metaphysical, which raises the artists genius above the shape and contents of the work being created. Instead, he saw art as a reflection how society touches the people’s lives and how society developed. Art is an excellent tool for studying not only society, but emotions, and psychology. According to Lindqvist (2003), “Vygostsky regarded the psychology of art as a theory of the social techniques of emotions. His analysis reflects the artistic process.”

Taoism

            The Tao is a universal principle that covers everything from the creation of the galaxies to the way human interact with themselves and the world, showing the path needed to be followed. The Tao consists of 81 verses that are vast and go beyond all human logic. This collection of 81 short verses has survived over twenty-five centuries and their content still teaches us a great deal. The author of the Tao was  Lao Tzu, a royal librarian which was asked by the emperor to write all his knowledge before leaving the kingdom to wonder China (Windridge, 1999, p. 60). According to Manson, Taoism should not be described as a religion or a philosophy since the first step to interpreting the Tao is not to be guided by the labels. The Tao is the principal of all knowledge that is external and internal; eternal and mundane and it appears eternally. The Tao is an infinite and final cycle that starts and ends in the same time. To comprehend, the Tao, in plenitude you would need 200 lives of 100 years each and you would only be able to reach the beginning of a small end, which would be the spiral that reaches all the finalities of the mind, the spirit, psychology and evolves into human thought. This can be seen in Wu’s translation of the Lao Tzu: Tao teh ching verse 7:

Heaven lasts long, and Earth abides. What is the secret of their durability? It is not because they do not live for themselves. That they can live so long? Therefore, the Sage wants to remain behind, but finds himself at the head of others; Reckons himself out,

But finds himself safe and secure. Is it not because he is selfless That his Self is realized? (p.15)

At the site http://www.thetao.info/tao/taoleader.htm shows how diverse verses of the Tao have been implemented to leadership, life, and education for example verse 17, “The highest type of ruler is one of whose existence the people are barely aware. Next comes one whom they love and praise. Next comes one whom they fear. Next comes one whom they despise and defy” (Wu, 2005, p. 35). Yet a book written so long ago provides us insight on how to be leaders in the changing world of the 21st century.

            According to Astin & Astin (2000), the Tao has no beginning or end, yet it evolves with the times, which determines its expressions due to an era, a social group, or a particular task. Learning in Taoism is always orientated to a higher calling a vision, a goal, a task, a proposed problem that is awaiting a solution that will guide civilization, a group or a company to reach peace, unity and a common goal among all its members perfect enough to be used in a classroom, art classes, and for life.

Elaboration Theory

The Elaboration theory is an extension of the work previously conducted by Ausubel on advance organizers and Bruner on spiral curriculum. According Reigeluth (1992), the elaboration theory specifies that classroom instruction needs to be organized in increasing order of complexity for optimal learning. Instruction needs to be from simple lesson is presented and then it keeps getting harder until all the tasks are taught and the goals are meet. Reigeluth (1992) suggests that the lesson start with a summary of the previous class and end the class with a synthesis of that day lesson. The Elaboration theory proposes seven major strategy components: (1) an elaborative sequence, (2) learning prerequisite sequences, (3) summary, (4) synthesis, (5) analogies, (6) cognitive strategies, and (7) learner control. Elaboration theory applies to the design of instruction for the cognitive domain.

Application to Art Education

A teacher is someone who takes your hand, opens your mind, and touches your heart.

Anonymous

Each theory helps educators prepare a well-developed lesson that includes various formats and learning styles. These help include all the students in the class while giving the instructor various tools to enhance the art education programs in our school systems.

Those who educate children well are more to be honored than parents, for these only gave life, those the art of living well.

Aristotle

Educators today need to have tools, skills, and abilities to reach the students within the schools. The multiple intelligence theory and the trait theory help educators classify the students in the classrooms. The cognitive theories, interpretative theory, and the elaboration theories help the educator map out the students learning process from simple to more complexes, not only within the grade but throughout life. According to Martin Luther King Jr. (1948), “The function of education, therefore, is to teach one to think intensively and to think critically. But education which stops with efficiency may prove the greatest menace to society. The most dangerous criminal may be the man gifted with reason, but with no morals.” In other words, education is the direct imparting of knowledge already accumulated from one who knows to one who is at the time ignorant. Yet according to Zuk & Dalton (1999), “The primary purpose of education is not to prepare children for jobs or to make our nation economically competitive in international markets. Public education is an important element of a working democracy and offers much more than measuring what we do in terms of dollars and cents or the economic return of our investment.” Yet according to Holcomb (2007), “as a growing consensus of policymakers, educators, and parents agree that the arts are integral to learning, some districts are seeing a policy shift on the local and state level. In California, education and arts organizations have worked to secure a windfall arts budget that, in theory, would guarantee arts education in every public school in the state. The monies - $105 million in ongoing funds, and a one-time, $500 million line item for classroom equipment – are a legacy of the California Teacher Association’s successful lawsuit on education funding.”

Art education has many benefits for the students and world we live in, so let use our knowledge on the theories available to us to enhance the students’ knowledge of the world. According to the Indo-European root meaning of art, it is whatever has undergone a deliberate process of arrangement. Art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience’s experience with the creative skill. Art is something that visually stimulates an individual’s thoughts, emotions, beliefs, or ideas. Art is a realized expression of an idea - it can take many different forms and serve many different purposes.

Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught.

Oscar Wilder 

Reference

Armstrong, T. (1994). Multiple Intelligences in the Classroom. Alexandria, VA: Association for Supervision and Curriculum Development.

Astin, H., & Astin, A. (Eds.) (2000). Leadership Reconsidered: Engaging Higher Education in Social Change. Michigan: W.K. Kellogg Foundation.

Bergmann, H. (1999, October – December). Introducing a grass-roots model of leadership. Strategy & Leadership, 27(6), 15. Retrieved November 19, 2005, from the ProQuest database.

Boje, D. (2000, December 7). Traits: The journey from will to power to will to serve. The Leadership Box. Retrieved January 2, 2006, from http://cbae.nmsu.edu/~dboje/teaching/338/traits.htm

DeMarrais, K.B., & LeCompte, M.D. (1999). The Way Schools Work: A sociological analysis of education (3rd edition). New York: Addison-Wesley Longman.

Doyle, M. E.,  and Smith, M. K. (2001) ‘Classical leadership’, the encyclopedia of informal education. Retrieved January 6, 2006, from http://www.infed.org/leadership/traditional_leadership.htm

Gardner, H. (1993). Multiple Intelligences: The Theory in Practice. New York: Basic.

Gardner, H. (2000). Intelligence Reframed:  Multiple Intelligences for the 21st Century.  New York:  Basic.

King-Sears, M.E. (2005, Summer). Are you highly qualified? The plight of effective special educators for students with learning disabilities. Learning Disability Quarterly, 28(3), 187- 188. Retrieved on March 29, 2006, from the EBSCOhost database.

King, M. (1948). The Purpose of Education. Retrieved on October 1, 2006 from             http://www.toptags.com/aama/voices/speeches/pofed.htm

McEwan, E. K. (2003). 10 Traits of highly effective principals: From good to great performance. California: Corwin Press.

Navarrette, R. (2006, March 1). Defending No Child Left Behind; {R,E,S,C Edition]. The San diego Union – Tribune, San Diego, California, B.7. Retrieved on March 23, 2006, from the ProQuest database.

No child left behind act of 2001. (n.d.). Retrieved March 14, 2005 from http://www.ed.gov/policy/elsec/leg/esea02/index.html?exp=0

Norris, W. R., & Vecchio, R.P. (1992, September). Situational leadership theory: A replication. Group & Organization Management, 17(3), 331. Retrieved November 19, 2005, from the InfoTrac database.

Reigeluth, C. (1992). Elaborating the elaboration theory. Educational Technology Research & Development, 40(3), 80-86.

Romanowski, M.H. (2006, Feb. 27). Did State Board of Education rule properly on evolution? – Part I of II; No.: Constrictions on teaching deprive students knowledge; {Home Final Edition]. Columbus Dispatch: Columbus, Ohio, pg. 9A. Retrieved March 15, 2006, from the ProQuest database.

Roush, M. (1989, March 27). An A+ study of our failing schools; [FINAL Edition].  USA Today (pre-1997 Fulltext). McLean, Va. p. 3D. Retrieved April 2, 2006, from the ProQuest database.

Stogdill, R. M. (1974). Handbook of leadership: A survey of the literature. New York: Free Press.

Tzu, L. (2005). Lao Tzu: Tao teh ching (Wu, J. C., Trnas.). Boston: Shambhala Classics.

Weiskittel, P. (1999, October). The concept of leadership. ANNA Journal, 26(5), 467. Retrieved November 19, 2005, from the ProQuest database.

Windridge, C. (1999). Tong sing: The chinese book of wisdom. New York: Barnes & Noble.

Zuk, Bill & Robert Dalton.  The gift horse:  alliances between business and arts education. A Fine FACTA, v 1 (2) Winter ‘99 pg 31-35. Retrieved on October 1, 2006 from http://people.uleth.ca/~connie.chaplin/purped.html

 

 

 



GRANT

Developmental Learning in Art

Sunday, October 11th, 2009
Maritza M. Conde asked:


Developmental Learning in Art

Human developmental theories can be found in education, society, and even in peace research: cognitive, developmental, social learning, and socio-cultural developmental theories all have contributed to the educational system that is present today in the United States of America. Researchers such as Darwin, Freud, Erickson, Piaget, Watson, Skinner, Kohlberg, Bandura, Vygostsky, Bowlby, Bronfenbrenner, Gilligan, among many other scientists have done extensive research that today has influenced education throughout the content areas. The purpose of this article is to analyze two human development theories and create a lifelong learning curriculum for the art education throughout the lifespan of a learner.

Cognitive Developmental Theory

To understand is to invent, or to reconstruct by reinventing.                           

  Piaget (1972, p. 24)

Jean Piaget

Even though some critics say that Piaget’s theories are not correct, others support his research. To understand a bit better where the theories originated from lets discuss the origin of Jean Piaget. In 1896, born in a French-speaking part of Switzerland a child was born to a medieval literature professor called Arthur Piaget. According to his father, Jean was a precocious child who developed an interest in natural science (biology and the natural world), and even published a number of papers before he graduated from high school about mollusks. His lifelong passion was to understand how humans create knowledge. Piaget’s efforts founded the discipline of genetic epistemology (biological foundations for knowledge), and established a framework that continues to affect the way teachers are trained and students are taught.

He served as a professor of psychology at the University of Geneva from 1929 to 1975 and is best known for reorganizing cognitive development theory into a series of stages, expanding on earlier work from James Mark Baldwin: four levels of development corresponding roughly to (1) infancy, (2) pre-school, (3) childhood, and (4) adolescence. Piaget spent years observing and interviewing young male children in an effort to further his theories about the construction of knowledge. According to Nagarjuna (2006), Piaget “thought that by observing the ways that children create meaning, he could learn more in general about the development of knowledge.”

Development from one stage to the next according to Piaget is the accumulation of errors in the child’s understanding of the environment; theses errors eventually causes such a degree of cognitive disequilibrium that the structures within the child require reorganizing. According to Murray (2007), “All development emerges from action; that is to say, individuals construct and reconstruct their knowledge of the world as a result of interactions with the environment.”  According to Nagarjuna (2006), “Cognitive structures are understood to be the ways that young people make sense of the world, given their lack of adult sensibilities.”

Jean Piaget viewed intelligence as a process that help an organism adapt to its environment and proposed four major periods of cognitive development. The four development stages described in Piaget’s theory are (1) sensorimotor stage, (2) Preoperational stage, (3) Concrete operational stage, and (4) formal operational stage. Each cognitive structure in Piaget’s theory is defined by a series of traits, and corresponds loosely to specific age. These chronological periods are not rigid rules, just approximate values to set the stages in an order starting from birth to 2 years of age defining the sensorimotor stage, where the children experience the world through movement and senses and learn object permanence. The preoperational stage starts from the age of 2 to 7 years and the child has an acquisition of motor skills. In the concrete operational stage starts from 7 to 11 years and the children begin to think logically about concrete events that are taking place in their environment. In the formal operational stage begins after the age of 11 and it is when the child develops of abstract reasoning of the world around them.

            Based on his life long research, Piaget felt that “students should not be seen as empty vessels to be filled by expert teachers, but rather active participants in the building of their own knowledge” (Nagarjuna, 2006). According to Murray (2007), Piaget concluded “that schools should emphasize cooperative decision-making and problem solving, nurturing moral development by requiring students to work out common rules based on fairness” (p. 2). Even though the explanations offered may be incorrect today, according to the latest adult sensibilities and research, but “the fact that children do offer explanations for these things shows that they are actively working to understand the world around them” (Nagarjuna, 2006).

Following Piaget’s line of reasoning, Selman (1980) examined children’s cognitive understanding of the social world. To understand relations and interactions between people, children need to understand that others also have an internal state which influences how they are behaving. Selman reported that rather young children realize that different people have visual perspectives which are independent from their own. . . . Implying Piaget’s insight in peace education would ask for an active, exploratory process in which conflicting information and social dilemmas are allowed to exist. In such a process, learning to understand the underlying perspectives (visual, social, or emotional) of other people would broaden our possibilities of being confronted with and understanding differences.

Hakvoort (2002)

Lev Vygotsky

The second theory that will be used to write the art curriculum for the lifelong learners is the cognitive theories of Lev Vygotsky. Vygotsky insists that children’s minds are shaped by the particular social and historical context in which they live and by their interactions with adults, explaining why educators will never be replaced with technology no matter the advances that we reach. His social development theories play a fundamental role in the development of cognition. Vygotsky (1978) states:

Every function in the child’s cultural development appears twice: first, on the social level, and later, on the individual level; first, between people (interpsychological) and then inside the child (intrapsychological). This applies equally to voluntary attention, to logical memory, and to the formation of concepts. All the higher functions originate as actual relationships between individuals (p.57).

Vygostsky’s theory of art developed a “dynamic overall approach by (1) the writer’s intentions, era, and background; (2) the form, content, and symbolism of the literary piece; and (3) the readers’ experience and interpretation of the work” (Lindqvist, 2003). Vygostsky did not regards art as something spiritual and metaphysical, which raises the artists genius above the shape and contents of the work being created. Instead, he saw art as a reflection how society touches the people’s lives and how society developed. Art is an excellent tool for studying not only society, but emotions, and psychology. According to Lindqvist (2003), “Vygostsky regarded the psychology of art as a theory of the social techniques of emotions. His analysis reflects the artistic process.”

Art

The Britannica Online defines art as “the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others.” The first and broadest sense of art is the one that has stayed closest to the older Latin meaning, which roughly translates to “skill” or “craft,” and also from an Indo-European root meaning “arrangement” or “to arrange.” In this sense, art is whatever is described as having undergone a deliberate process of arrangement. Art can describe several things: a study of creative skill, a process of using the creative skill, a product of the creative skill, or the audience’s experience with the creative skill. Art is something that visually stimulates an individual’s thoughts, emotions, beliefs, or ideas. Art is a realized expression of an idea - it can take many different forms and serve many different purposes.

Using this last definition art would be a good tool to used to help students acquire a sense of belonging in their environment. According to Wekipedia, the common characteristics displayed by art are:

encourages an intuitive understanding rather than a rational understanding, as, for example, with an article in a scientific journal; was created with the intention of evoking such an understanding or an attempt at such an understanding in the audience; was created with no other purpose or function other than to be itself (a radical, “pure art” definition); is elusive, in that the work may communicate on many different levels of appreciation; may offer itself to many different interpretations, or, though it superficially depicts a mundane event or object, invites reflection upon elevated themes; demonstrates a high level of ability or fluency within a medium; this characteristic might be considered a point of contention, since many modern artists (most notably, conceptual artists) do not themselves create the works they conceive, or do not even create the work in a conventional, demonstrative sense (one might think of Tracey Emin’s controversial My Bed); confers particularly appealing or aesthetically satisfying structures or forms upon an original set of unrelated, passive constituents.

Art Educational Program

But if you ask what is the good of education in general, the answer is easy; that education makes good men, and that good men act nobly.

Plato

            Many schools are now learning how to deal with the diversity among the student and teacher population. Greenman (2007) suggests that art, music, and language are a good way to embrace cultural diversity. Art teachers, need to incorporate the art of other cultures throughout the schools curricula. Just as the scientists that wanted to change the world with their theories on human development artists, art teachers, art historians and other enthusiasts appreciate and value the art of other countries, so perhaps we may facilitate the education of others. Since according to Greenman (2007), “We’re all aware that when you know and understand something, you come to appreciate and value its uniqueness.”

 

Design, Implementation, and Teaching

A child’s education should begin at least one hundred years before he is born.

Oliver Wendell Holmes, Jr.

Infants. Infants are children classified from birth to 2 years of age. Through the use of many practices, specialized schools, and educational program for parents, caregivers can start educating their child from infancy using art. Art exposes the child to a world of imagination while it introduces him/ her to the riches of our world (plants, animals, places, etc.). Since infants can’t speak exposing them to bright colors, pictures, cartoons, and other forms of art is the best tool to use. During these delicate years of infancy, the child is developing their sensorimotor skills (uses of all the five senses). Color are the best way to help develop hand and eye coordination by obtaining toys, tools, education material that is bright and contains the main primary colors: red, blue, yellow, green, white, and black. The exposure to more colors helps the students learn to define and identify not only the colors but the objects containing the colors, using their appropriate names if taught by the caregivers.

 

Education is an admirable thing, but it is well to remember from time to time that nothing that is worth knowing can be taught.

Oscar Wilde

Toddlers. Toddlers in the other hand are children from the age of 2 to 5 years old. These children are active and have been able to identify colors, shapes, object, and their functions. As the child’s caregiver this is time to expose the children to watercolors, colored pencils, crayons, long white walls, mud, clay, and so on. The student will learn to make lines and circles, which are the basic principals for writing. The use of watercolors, brushes, and color pencils will refine the motor skills they will need in the future. The crayons would teach them to stay in between the lines while making their own masterpieces to share their feelings and their view of the environment.

 

Those who educate children well are more to be honored than parents, for these only gave life, those the art of living well.

Aristotle

Once a child enters the school system it is the teachers task to become the second parent, the guide need to enhance the lives of the children. At this stage of development, the children are able to identify and recognize variations in their environment. They are able to create art, enhance it, mimic it, copy it, and interpret the art, the culture, and the origin of it. The students learn how to express their feeling, emotions, sentiments, problems, solutions, and soul through their colors. At this ages they also try to experiment by creating their own colors, mixing and matching to create their own identity.

 

Education is not received. It is achieved.

Anonymous

Adolescence. Teenagers are a strange bread of individuals not quite adults, yet not quite children. These students are full of energy, passion, rage, anger, emotions, problems, and should be taught to use art as a means to release, fix, or neutralize these emotions. The students can at this age create a art festival in which they show the techniques and skills they have learned in previous years. Since art teachers are natural leaders according to Greenman (2007),  high school students can create an “International Festival” in which they can exhibit various works of art from diverse countries, make creative bulletin board of different languages, have a dance contest in which P.E. class are incorporated, use diverse cloth from different cultures, after-school activities, special meals, among other things. As a high school teacher, “students could wear special costumes from their country of origin at the event. The colors, designs, and patterns would add much to the festive occasion. Wearing art from around the world … a feast for the eyes” (Greenman, 2007).

 

The Classroom experience is changed when you’re close to the age of the professor and bring similar life experiences into the leaning process.

Gay Clyburn

Young Adults. As a young adult, there are many ways that you can enhance art education among the students population. Personally, the students are looking to enhance their knowledge of the world and environments around them. As the instructor a creation of a diverse art curriculum that includes making colors from scratch, how to make paper, in depth study on how colors where used in Egypt, Greece, Paris, US, Latin America, China, Japan. In these courses, go into depth on how to interpret, appreciate, and create art piece that could teach the students how to blend in to a diverse settings. Teach how to tell a story through time using only colors and art.

 

Education makes people easy to lead, but difficult to drive; easy to govern, but impossible to enslave.

Henry Peter Brougham

Senior Citizens. As an educator, while teaching an art to senior citizens incorporating acrylic painting, watercolors, and other techniques to help them express what they have seen, lived, and experience through life. Learning how to leave a legacy of love for their loved ones, long discussions on the topic will lead to philosophy, acquisition of others knowledge and the teacher would become the students and the students would become the teachers since their experiences would be much greater than the educators. A deep discussion on the Mona Lisa, could lead us to solve the Dan Vinci code, while trying to create their own mysteries, while realizing that “If you educate a man you educate a person, but if you educate a woman you educate a family” (Manikan).

In conclusion, art education has many benefits for the students and world that we live in, but what has the educational systems have been doing to ensure the survival of these programs since they seem to be the first eliminated when the budgets are cut in schools. According to Holcomb (2007), “as a growing consensus of policymakers, educators, and parents agree that the arts are integral to learning, some districts are seeing a policy shift on the local and state level. In California, education and arts organizations have worked to secure a windfall arts budget that, in theory, would guarantee arts education in every public school in the state. The monies - $105 million in ongoing funds, and a one-time, $500 million line item for classroom equipment – are a legacy of the California Teacher Association’s successful lawsuit on education funding.”

 

 

 

 

 

 

 

 

References

Clyburn, G. (2006, November / December). Listening to Students: Dusting Off a Life of the Mind. Change.

Ferrari, M., Pinard, A., and Runions, K. (2001). Piaget’s Framework for a Scientific Study of Consciousness. Human Development, 44: 195 - 213.

Hakvoort, I. (2002, January). Theories of Learning and Development: Implications for Peace Education. Social Alternatives, 21(1): 18 – 22.

Holcomb, S. (2007, January). States of Arts. Art Education. Retrieved February 1st, 2007 from Neatoday.

Greenman, G. (2007, January). Tried & True tips for Art Teachers. Retrieved January 31, 2007 from www.art5andactivities.com

Lindqvist, G. (2003). Vygostsky’s Theory of Creativity. Creativity Research Journal, 15 (2-3): 245 – 251.

Lourenco, O., and Machado, A. (1996). In Defense of Piaget’s Theory: A Reply to 10 Common Criticisms. Psychological Review, 103 (1): 143 – 144.

Malerstein, A.J., Ahern, M.M., Pulos, S., and Arasteh, J.D. (1995, Spring). Prediction and Constancy of Cognitive-Motivational Structures in mothers and their adolescents. Child Psychiatry and Human Development, 25(3): 197 – 208.

Murray, M.E. (2007). Moral Development and Moral Education: An Overview. Department of Psychology, University of Illinois at Chicago. Retrieved on January 25, 2007 from http://tigger.uic.edu/~Inucci/MoralEd/overviewtext.html

Nagarjuna, G. (2006) Tracing the Biological Roots of Knowledge, in Rangaswamy, N.S., Eds. Life and Organicism. Project of History of Indian Science, Philosophy and Culture (PHISPC).

Piaget, J. (1976). La formation du symbole chez l’enfant. [Play, dreams, and imitation]. Neuchantel, Switzerland: Delachaux et Niestle. (Original work published 1946).

Vygotsky, L.S. (1978). Mind in Society. Cambridge, MA: Harvard University Press.

 



LEWIS

THE ART INSTITUTES OFFERS EDUCATIONAL ASSISTANCE

Friday, May 22nd, 2009
The Art Institutes asked:


Jacquelyn P. Muller, AVP - Public Relations, (412) 995-7262 Devra Pransky, PR Specialist, (412) 995-7685

(PITTSBURGH - September 12, 2005) The Art Institutes announced today that it will assist both domestic and international students from universities in New Orleans, southern Louisiana, Mississippi and Alabama universities, which have been closed for the foreseeable future due to the devastation caused by Hurricane Katrina.

The Art Institutes will make available both on-campus and online courses that might be able to permit dislocated students to progress in their academic careers during this semester of disruption. Students at a university forced to close by Hurricane Katrina may register at any of The Art Institutes 31 locations across the nation for courses, on a space-available basis, for the fall semester.

The Art Institutes will waive tuition for dislocated students who have already registered and paid tuition at their home institution for the fall 2005 semester. If dislocated students have not yet paid their tuition at their home institution, they will be assessed the lesser of the current published tuition and fees at the home institution, or The Art Institutes’ published tuition and fees for the fall semester, as determined by the school president.

“The Art Institutes strives to assist college students who have been affected by Hurricane Katrina,” says Dave Pauldine, president of The Art Institutes. “The Art Institutes offers this initiative as a way to reach out to the students in the Gulf Coast region whose lives and education have been impacted by Hurricane Katrina and do what we can to assist those students.”

The Art Institutes is a group of 31educational institutions located throughout North America. Offering a broad range of programs including: audio production, culinary arts, culinary management, fashion design, fashion marketing, graphic design, industrial design technology, interior design, media arts & animation, multimedia & Web design, photography, restaurant management and video production. Not all programs are offered at all schools.

The Art Institutes operate in Atlanta, Arlington, VA (as The Art Institute of Washington), Boston (as The New England Institute of Art), Charlotte, Chicago and Schaumburg, IL, Cincinnati (as The Art Institute of Ohio - Cincinnati), Dallas, Denver, Fort Lauderdale, Houston, Las Vegas, Los Angeles (as The Art Institute of California - Los Angeles and California Design College), Miami (as Miami International University of Art & Design), Minneapolis, New York, Orange County, CA, Philadelphia, Phoenix, Pittsburgh, Portland, San Diego, San Francisco, Seattle, Tampa, Toronto , Vancouver (as The Art Institute of Vancouver, York, PA (as Bradley Academy of the Visual Arts) and The Art Institute Online, a division of The Art Institute of Pittsburgh.

Students seeking additional information about The Art Institutes’ initiative can view the policy in its entirety at (www.artinstitutes.edu/katrina) or call the National Admissions Information Center at 1-888-328-7900.

The Art Institutes (www.artinstitutes.edu), with 31 education institutions located throughout North America, provide an important source of design, media arts, fashion and culinary professionals. The parent company of The Art Institutes, Education Management Corporation (www.edmc.com) is among the largest providers of private post-secondary education in North America, based on student enrollment and revenue. Student enrollment exceeded 66,000 as of fall 2004. EDMC has 71 primary campus locations in 24 states and two Canadian provinces. EDMC’s education institutions offer a broad range of academic programs concentrated in the media arts, design, fashion, culinary arts, behavioral sciences, health sciences, education, information technology and business fields, culminating in the award of associate’s through doctoral degrees. EDMC has provided career-oriented education for over 40 years.



KENDRICK

Choosing an Art Teacher May be the Most Important Decision an Artist Makes. How to Choose Properly

Thursday, January 1st, 2009
Eric Hines asked:


I can’t imagine a worse scenario for an eager and enthusiastic art student than enrolling in a over crowded art class run by a mediocre art teacher

In short order the student is set up for loss after loss. The basics of drawing and painting either not taught in an easy to duplicate fashion, that the art student can grasp, or very often they are not taught at all!

Quite Frequently the student makes the decision that drawing and painting is just too hard and gives up. The student will incorrectly find the fault with themselves, often with the self generated concept that they do not posses enough natural artistic talent.

Whereas most of the blame usually falls on the shoulders of the student, the true cause falls at the feet of the art instructor and poor instruction.

This is exactly what happened to my wife.

My wife is from Toronto Canada. She originally came to America as a student to study fine art in a university. The instruction was terrible.

Both my wife’s drawing and painting classes were taught entirely on the irresponsible method of “if it feels good go with it.”

Unfortunately my wife could not “feel” her way into learning basics such as capturing light and shadow, how to draw in proportion, the use of color and tone, how to sketch in charcoal, differences in working with oil vs. watercolors.

Needless to say she the only thing that she could “feel” good about was changing her major.

With hundreds of colleges and thousands of private art instruction schools across the country how does one go about picking an art instructor that will teach one how to draw and paint properly?

I was lucky enough to be able to ask Larry Gluck what one should look for when choosing an art school and instructor so one achieves their goal in becoming a better artist.

Larry Gluck is the founder of the world’s largest fine art program.

After 33 years employing hundreds of art instructors and teaching over 3,000+ students every week how to draw and paint this is the advice Larry has in regards to choosing an art teacher…

“Here are a few pointers on what to look for in a fine art teacher. I hope they help in your search for a good drawing and painting instructor.

1. Do you like the teachers work?

It’s important to respect what your teacher does. Now matter how objective he is about his work, he’ll teach you what he knows - and what he knows will be reflected in what he does.

On the other side of the coin, do not judge the instructor only by their artwork. Teaching art is not the same as creating art, and some teachers are very good artists but horrible instructors.

Others don’t have enough intention to help students through the rough spots. Although a teacher much have knowledge and talent to merit teaching his subject, the determination to help you and see that you indeed learn should be his top priority.

2. Does your teacher start with the fundamentals?

A gradual approach is necessary to learning. You start with the most basic fundamentals and continue from there. All to frequently the teacher assumes that you already posses a thorough knowledge of the fundamentals, or worse, the instructor is not familiar with them enough in order to teach them.

Also, some teachers are involved in the arts for such a long period of time that the use of the arts fundamentals are automatic, so much so that they are no longer aware of them. This of course, would be a terrible failure on the part of the teacher - but it does happen.

3. Are you actually improving?

If your art teacher teaches you the fundamental skills, on by one, ensuring you master each one before going to the next, your skills should improve.

If not, something is wrong with the instruction, not with you. A good instructor should be able to break the needed skills down into steps simple enough for you to learn successfully.

4. Are you being treated as an individual?

We all have different strengths and weaknesses. The good art instructor will realize this and treat each art student as an individual. A poor teacher treats everyone the same or has a few favorite students.

5. Is the class overcrowded?

If there are more than ten students with only one instructor, you won’t benefit from what he has to give you.

Since everyone is different in regards to ability and what one is aware of, there has to be a way for you as a student to to receive one-on-one instruction with the instructor.

6. Are you training with people you like?

It helps to learn with people who encourage and support one another, admire each others efforts, and are genuinely pleased to see other’s progress.

It would also help to have friends with whom you can also discuss the art form.

Companionship within the arts causes growth in the artist.

7. Are you pitted against others?

Some teachers feel that competition is needed among students is necessary to spur them on. It isn’t.

Perhaps the teacher will be less bored but it does nothing for students, particularly in the arts.

You should only be competing against your present limitations.

8. Is it a safe environment in which you feel comfortable learning?

You must feel safe and secure in all learning environments.

This is especially true when learning an an art form where the stakes are so high and the intimidation factor can be so great.

If you feel intimidated anyway when you go to class, it’s probably the teachers fault, even if the intimidation comes from other students.

A competent art instructor is in control of the students and is responsible for how they interact with each other in the classroom.

Some instructors intimidate students with an overbearing manner.

Some instructors will set themselves up as a major authority on the subject of art or unattainable examples of artistic talent.

Some favor a few students over others.

If this is occurring, find a new art instructor.

9. Is there criticism without help?

An overly critical teacher can make you give up.

Criticism without instruction on how to improve is hinderance, not a help.

Rather than continually pointing out what is wrong with what you are doing, a good teacher should give you tasks to do.

A student progresses by winning, not loosing. Ask yourself if you feel better since you started the class - better about yourself, your ability, and what you are doing. If not, change teachers.

10. Are you getting individual help?

Maybe her is a piece of information you don’t quite comprehend, or a technique that you just can’t put into application.

Does the teacher take the time to help you? Is the art instructor prompt with the help but patient with handling your question or problem?

Can the instructor get to the root of what ou are having a problem with and help you figure it out?

If not you are wasting your time and money.

If you aren’t getting better and having fun while doing so, your instruction is falling down on one or more of these points.

Review these ten tips and locate exactly what the problem is. If this turns out that you cannot fix this by speaking with your instructor, you will have to find a new teacher.

All art forms appear difficult to a beginner. A good teacher will show you not only that excellence is attainable, but also how.

You may think you cannot do it or feel you do not have enough talent, a good instructor knows that you can and will make sure that you learn to.”



HERBERT