There is evidence to suggest that the impact of Arts based educational programs for many generalist primary teachers are a source of struggle and intense frustration (Oreck, 2004; Upitis, Atri, Keely & Lewis, 2010). Professional development (PD) opportunities created for generalist classroom teachers’ need to acknowledge generalist teachers’ lack of experience with specific art forms in order to be effective (Uptis, et al., 2010). The PD needs to reach the generalist teachers, in a deep and meaningful way so that they become Arts advocates for their students, their school and the community (Oreck, 2004; Uptis, et al., 2010). For PD to be effective it must be structured to meet the needs of adult learning principles and provide adequate time for mentoring, inquiry and reflective practices (Donovan, 2007; Lind, 2007). The learning needs to be supported as a high priority by administration (time and funds); encourage collegiality and the establishment of ongoing outside professional support and facilitation; and embrace research based strategies (Darling-Hammond & Friedlaender, 2008; Morrow, 2003, Oreck, 2004; Richards, 2003). Further to this, PD programs in the need to emphasise integration and assessment strategies, and outcomes based learning (Andrews, 2004, 2008, 2010). In an evaluation of a University facilitated PD program for teachers learning in the Arts, it was confirmed that working with practicing artists, in a peer-supported environment promoted teacher self-efficacy (Andrews, 2008). Andrews (2010) reports that through a partnership program, between faculty and school, where generalist teachers work with professional artists, teachers develop:
“A knowledge base, confidence and willingness to teach the arts, and an understanding of the relationship of theory to practice is enhanced in a partnership program involving professional artists that promotes teachers’ personal arts learning (discipline-based learning) and the development of integrated arts teaching strategies (arts integration) within the course content. (p. 93).”
An artist-in-residence, who supported a teacher during the project development in the Peel study encouraged the students to be artists rather than just take part in the art. The teacher reflected on what she had learnt from the creative engagement and said that:
“She expects quite high standards when I have children writing, but when they’ve done art I think …‘Oh well! That’s probably the best they can do…one go and its good enough…however (name of artist-in-residence), had different ideas…well some of those children redid their work three or six times…they were really proud of what they achieved…what a life lesson” (Nilson, 2011, p. 125).”
Once students have grasped the basic ideas; the more they are able to practice the deeper the learning journey (Fetherson, 2006). Transfer of learning that allows students to apply the knowledge to many other situations, is well within a teacher’s control and can be achieved by allowing opportunity and extended time for that to occur (Fetherston, 2006). Based on the understanding that creativity and critical thinking is an attitude rather than an aptitude (McPeck, 1981; Schirrmacher & Englebright Fox, 2009), children should begin to view the world in a different way and become stimulated to explore and problem solve the endless possibilities from creative endeavours.
Further to administration making PD a priority, authorities in Arts education (Wasserman, 2000; Schirrmacher & Englebright Fox, 2009) suggest that teachers reflect on their own creative abilities and consider opportunities for enhancing and developing these characteristics in themselves. Providing children with the opportunity for creative learning and critical thinking requires teachers to teach creatively (Cannatella, 2004; McKenna, 2013; Schirrmacher & Englebright Fox, 2009; Wasserman, 2000). However, teachers can only develop their students’ behaviour and thinking if they engage their own creative abilities (Oreck, 2004, 2006). Teaching methods and educational philosophies used in classrooms are greatly influenced by teachers’ perspectives (Dogani, 2004; Eason et al., 2009; Fetherston, 2006; Oreck, 2004). The more a child’s background of experiences is influenced by objects, people and places the greater the range of creative and critical thinking possibilities (Vygotsky, 1962). During the Peel region art project (Nilson, 2011) the interactions between the children and school teachers, AiRs and mother helpers assisted the move forward towards their creativity and critical thinking potential. The art project required that the children constructed a replica model of an historic building. Below is an example of how the collaborative planning, design and construction of the replica building, using all kinds of different materials, supported the opportunities for creativity and critical thinking development in the children:
“When we laid the floor boards, which were pop sticks…they all had to glue them on…they learnt and understood that you don’t just glue them end to end otherwise it isn’t strong…we stagger them…they learnt something about strength and building…the same with the bricks… “why are bricks off set?”… “well it’s stronger”…how we measured and drew lines mathematically on the floor to make sure our floor boards stayed straight…how we had to cut in and go back to make pieces to fit in (Nilson, 2011, p. 117).”
Teachers have the responsibility to create an environment that empowers children to think, create their own questions and own the answers (Eason, et al., 2009)
Monday, July 13, 2015
Teacher Professional Development
There is evidence to suggest that the impact of Arts based educational programs for many generalist primary teachers are a source of struggle and intense frustration (Oreck, 2004; Upitis, Atri, Keely & Lewis, 2010). Professional development (PD) opportunities created for generalist classroom teachers’ need to acknowledge generalist teachers’ lack of experience with specific art forms in order to be effective (Uptis, et al., 2010). The PD needs to reach the generalist teachers, in a deep and meaningful way so that they become Arts advocates for their students, their school and the community (Oreck, 2004; Uptis, et al., 2010). For PD to be effective it must be structured to meet the needs of adult learning principles and provide adequate time for mentoring, inquiry and reflective practices (Donovan, 2007; Lind, 2007). The learning needs to be supported as a high priority by administration (time and funds); encourage collegiality and the establishment of ongoing outside professional support and facilitation; and embrace research based strategies (Darling-Hammond & Friedlaender, 2008; Morrow, 2003, Oreck, 2004; Richards, 2003). Further to this, PD programs in the need to emphasise integration and assessment strategies, and outcomes based learning (Andrews, 2004, 2008, 2010). In an evaluation of a University facilitated PD program for teachers learning in the Arts, it was confirmed that working with practicing artists, in a peer-supported environment promoted teacher self-efficacy (Andrews, 2008). Andrews (2010) reports that through a partnership program, between faculty and school, where generalist teachers work with professional artists, teachers develop:
“A knowledge base, confidence and willingness to teach the arts, and an understanding of the relationship of theory to practice is enhanced in a partnership program involving professional artists that promotes teachers’ personal arts learning (discipline-based learning) and the development of integrated arts teaching strategies (arts integration) within the course content. (p. 93).”
An artist-in-residence, who supported a teacher during the project development in the Peel study encouraged the students to be artists rather than just take part in the art. The teacher reflected on what she had learnt from the creative engagement and said that:
“She expects quite high standards when I have children writing, but when they’ve done art I think …‘Oh well! That’s probably the best they can do…one go and its good enough…however (name of artist-in-residence), had different ideas…well some of those children redid their work three or six times…they were really proud of what they achieved…what a life lesson” (Nilson, 2011, p. 125).”
Once students have grasped the basic ideas; the more they are able to practice the deeper the learning journey (Fetherson, 2006). Transfer of learning that allows students to apply the knowledge to many other situations, is well within a teacher’s control and can be achieved by allowing opportunity and extended time for that to occur (Fetherston, 2006). Based on the understanding that creativity and critical thinking is an attitude rather than an aptitude (McPeck, 1981; Schirrmacher & Englebright Fox, 2009), children should begin to view the world in a different way and become stimulated to explore and problem solve the endless possibilities from creative endeavours.
Further to administration making PD a priority, authorities in Arts education (Wasserman, 2000; Schirrmacher & Englebright Fox, 2009) suggest that teachers reflect on their own creative abilities and consider opportunities for enhancing and developing these characteristics in themselves. Providing children with the opportunity for creative learning and critical thinking requires teachers to teach creatively (Cannatella, 2004; McKenna, 2013; Schirrmacher & Englebright Fox, 2009; Wasserman, 2000). However, teachers can only develop their students’ behaviour and thinking if they engage their own creative abilities (Oreck, 2004, 2006). Teaching methods and educational philosophies used in classrooms are greatly influenced by teachers’ perspectives (Dogani, 2004; Eason et al., 2009; Fetherston, 2006; Oreck, 2004). The more a child’s background of experiences is influenced by objects, people and places the greater the range of creative and critical thinking possibilities (Vygotsky, 1962). During the Peel region art project (Nilson, 2011) the interactions between the children and school teachers, AiRs and mother helpers assisted the move forward towards their creativity and critical thinking potential. The art project required that the children constructed a replica model of an historic building. Below is an example of how the collaborative planning, design and construction of the replica building, using all kinds of different materials, supported the opportunities for creativity and critical thinking development in the children:
“When we laid the floor boards, which were pop sticks…they all had to glue them on…they learnt and understood that you don’t just glue them end to end otherwise it isn’t strong…we stagger them…they learnt something about strength and building…the same with the bricks… “why are bricks off set?”… “well it’s stronger”…how we measured and drew lines mathematically on the floor to make sure our floor boards stayed straight…how we had to cut in and go back to make pieces to fit in (Nilson, 2011, p. 117).”
Teachers have the responsibility to create an environment that empowers children to think, create their own questions and own the answers (Eason, et al., 2009)
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