Assignment Two: Information letter and risk management.

These are excerpts of the full documents to show my thought process about the event in the unit plan.

Information Letter:

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Risk Management:

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Context:

Students are mature enough to understand expectations and the importance of the activity to their assessment.  This is a small group of 9 students, two or three may require additional attention and reminders, otherwise they are responsible, young adults.

They will be required to set up their display, to have their hair, makeup, and costumes attended to, and pose in their painting.  Props will be used along with a frame and backboard.  This will take place in an indoor venue.  Teachers and parent volunteers will supervise the activity.

riskmanagment2

Control measures

Students participate in risk assessment in Experience 1/Activity 3 to contribute to a “roles, responsibilities, and conduct contract” for the exhibition.  This is reviewed after the practice run in Experience 4/Activity 2.

a.Using seat belts on the bus (administration, personal protective equipment)

b. Carrying smaller loads. (redesign, administration,)

c. Ensuring walkways are clear of obstructions, belongings put away (elimination, isolation, administration)

d. Identifying emergency exits, meeting area and head count (administration)

e. Selecting venue with alternatives such as natural light (elimination)

f. Contract defines use and respect of facilities (administration), bring supplies to repair/replace equipment (administration).

Additional information:

One of the attending teachers holds a first-aid certificate, medical information forms will be available, basic first-aid box, contact details for parents/carers, venue, medical authorities, supervising adults, and participating students.

First aid guidelines: http://ppr.det.qld.gov.au/corp/hr/workplace/Procedure%20Attachments/First%20Aid/guideline.DOC

A persistent risk is that of students not following procedures and leaving the premises. Students will be allowed to bring mobile phones to the activity for emergency use, to take photos, or during breaks.  Head counts will be carried out at various stages and areas checked for tripping hazards.  Anxiety is another issue that will be addressed in lessons and practice runs, including breathing/relaxation techniques. The intention is to have enough adults to be able to attend to the health needs of individual students and supervisor the exhibition should the need arise.  Back up supplies will address repairs of equipment/props if necessary.

Phone chargers, phones, iPad/tablet, USB stick, will be used by the teachers with back up provided by the volunteers’ own equipment for taking photos, accessing information, making notes.  This ensures the is more than one method of communication to contact others and be contacted, should one device fail.

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Assignment Two: 4 week unit plan

Context Statement                                 

School: This is a small, private, rural school in Queensland for years 7 to 12.  There are a small number of Indigenous Australian and Chinese students at the school, the latter of which speak English as their second language.   The school promotes a pedagogy of nurturing and support that begins with identifying students’ emotional needs and interests to facilitate learning.  There is emphasis on using ICT across all subjects and responsible and safe use of the internet, copyright, and verifying sources.  Mobile phones are not permitted at school, and although iPods are allowed at student’s own risk they are only used in class with the teacher’s permission. All classrooms have internet connectivity and an interactive whiteboard (IWB).

Students:  This year 12 Visual Arts class consists of 9 students, 6 female and 3 male, all from either the local town or rural surrounds, all of which speak English as their primary language.  All students have an internet ready iPad or tablet and are encouraged to learn and use a range of ICT for use in all classes such as PowerPoint, Word, OneNote, the school’s learning management system, SEQTA, and research using the school’s online library system and use of the internet.

Staff:  All teachers have an iPad/tablet, internet access and are encouraged to use SEQTA to post homework, class work, extension activities, resources, and for student task submissions and feedback.

Overview of unit and community event: Students will analyse historic paintings of people to identify whose voices are excluded and will present their perspective through visual and written works, with consideration given to cultural understanding and sensitivity.  Students will research their chosen artwork and focus, such as race, gender, class, to create a different view of the artwork, giving the unheard a voice, and building on this in an extended writing task.  They will each rework the historical artwork of their choice, with themselves in the painting, and will present them to the wider community in a living-art exhibition.  This will take place during the Jumpers and Jazz in July festival in Warwick, Queensland near the end of the month. This annual festival celebrates local arts and crafts as well as yarn bombing the town.  They will participate in a feasibility study and decision-making processes to make unified decisions on aspects such as dates, costs, fundraising, asking for sponsors, or raising money for charity.  Students will demonstrate their understanding of the objectives, concepts, focus, and purpose of their artwork to educate and entertain the public, thereby recognising the value of arts in society.  There is potential to adapt this unit’s topic and to contribute to the festival annually while providing year 12 students with real-world experience in applying and designing for exhibitions.

Art Subject Content

This is part of a 13 week unit plan designed for Year 12 Visual Art (Authority Subject) students that contributes to their Body of Work – 1 and written assessment tasks.  The body of work will culminate in at least one resolved piece of artwork, that of the living artwork, but students may create other 2D/3D works for their folio.

There will be 5 x 45 minute lessons a week, consisting of two double periods and one single period, and will run through semester 3 and into semester 4 of the work programme for years 11 and 12. This is so that it coincides with the festival weekend. The appraising task will be over 6 weeks, introduced at week 7, and the making task will be over 13 weeks.

Aims: To promote critical, cultural, and aesthetic understandings through participation in the processes of the visual arts experience.

Unit Topic: What’s That I Hear?

Desired results:

At the beginning of the unit students will learn about predicting and collating requirements, decision making, and applying for an exhibition event through a feasibility study.  They will learn how to analyse historic paintings of people for contexts (historical, sociocultural, political, personal) and perspectives.  They will learn to identify which voices are unheard through discussion, inquiry, and research, and they will explore the concept of society with a focus on unheard voices in historical artworks.

By the end of the unit students should be able to design and create an artwork that shows the viewer an alternative version of the historic work, if the context were different when it was originally painted.  They will be able to demonstrate their perspective in their chosen artwork and focus by creating a living art performance and artist statement to supplement the exhibit.  Students will be able to apply their learning to an extended writing task that examines historic artworks and justifies their perspectives.

Students will know that… (Constructing Knowledge objectives/selected content descriptors from the syllabus)

3.1.1 Making – Visual Literacy

  • Define visual problems and communicate solutions related to relevant concepts, focuses, and contexts.

3.1.2 Making – Application

  • Select, explore and exploit materials, technologies, techniques and art processes informed by researching, developing, resolving and reflecting.

3.2 Appraising

Analyse, interpret, evaluate and synthesise information about visual language, expression and meanings in artworks, relevant to concepts, focuses, contexts and media.

Students will be able to… (Transforming objectives / SELECTED content descriptors from the syllabus)

3.1.1 Making – Visual Literacy

  • Create and communicate meanings through the use of visual language and expression.

3.1.2 Making – Application

  • Construct and communicate meaning through the knowledge and understanding of materials, techniques, technologies, technologies and art process.

3.2 Appraising

Justify a viewpoint through researching, developing, resolving and reflecting.

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Resource Links: http://www.jumpersandjazz.com/    https://www.google.com/docs/about/

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Resource Links: G.R.R.Model: http://www.ascd.org/publications/books/113006/chapters/Learning,-or-Not-Learning,-in-School.aspx

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Resource Links:  https://www.youtube.com/watch?v=PZmNZi8bon8

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Resource Links: De Goya: https://www.artsy.net/artwork/francisco-de-goya-the-third-of-may  Indigenous Australian Peoples: http://usqstudydesk.usq.edu.au/m2/pluginfile.php/1064217/mod_resource/content/1/Terminology%20Indigenous%20Australian%20Peoples.pdf

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 Resource Links: Interactive site:  https://budd-e.cybersmart.gov.au/teachers/secondary/budde.html  Art sites: https://www.artsy.net/gene/iconic-works-of-art-history/artworks?for_sale=false&include_medium_filter_in_aggregation=true   http://www.nga.gov.au/Collections/AUSTRALIA/

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 Resource Links:  https://www.edsurge.com/news/2015-04-26-how-to-bring-augmented-reality-to-your-school-s-art-show

https://www.aurasma.com/

Evidence of Student Learning

Formative:

  • Visual Art diary – shows evidence of notes, research, designs, experimentation and reflections – provide individual feedback.
  • Contributions to discussions, Google Docs, group work – provide feedback to the group.
  • Independent writing tasks and worksheets – provide individual feedback.

Summative:

  • Living artwork – students demonstrate learning and understanding through the changes in the artwork.
  • Artist statement – supplements the artwork in providing information to the public.
  • Extended writing – 800-1000 word essay on their original artwork and one other, discussing their chosen focus.

Feedback and Report on Student Learning

Students will receive ongoing feedback on formative tasks, both verbally and through SEQTA, to inform their learning.  Reference will be made to learning objectives that informs the rubric.

The teacher reports grades and positive feedback in SEQTA for both school use and aspects are available for parents/carers to view.  Teachers are encouraged to send positive behaviour/learning notes home.

Peer feedback is delivered verbally and students are encouraged to reflect on their work/learning regularly.

Cultural and Aesthetic Aspects

Arts and crafts are encouraged during this festival with a number of exhibitions and markets taking place during the same week.  Student-centred learning is at the heart of this unit whereby students select and research a focus area that is important to or interests them – sexism, racism, class. Presenting their works to the public expands understanding within the community with regard to who is excluded from historic artworks and the important role visual art plays in education.  Exhibiting in this local festival allows people to share perspectives and cultural differences, and to feel like part of that community.

Feedback to Evaluate and Enhance

Responses and comments from visitors to the exhibition provides additional information for both students and teacher to reflect on learning.  This will require a simple tick in boxes such as how engaging, informative, and professional it was.

Students will use this response to inform future works and for inclusion in their reflections. Students provide feedback to teacher, Experience 2/Activity 2, to inform learning needs and future planning.

Questions raised in Google Docs are also an indicator to the teacher as to what areas need further work, either for individual needs or in the delivery/content.  Reflections are also used to adjust the teaching pedagogy, strategies, and content delivery (Churchill, et al., 2011, pp. 434 – 458).

References

 Bransford, J. B. (2000). How People Learn: Brain, Mind, Experience, and School. Expanded Edition. doi:10.17226/9853

Carjuzaa, J., & Kellough, R. D. (2014). Teaching in the Middle and Secondary Schools: Pearson New International Edition (10th ed.). Harlow: Pearson Education.

Churchill, R., Ferguson, P., Godinho, S., Johnson, N. F., Keddie, A., Letts, W., & Vick, M. (2011). Teaching: making a difference. Milton: Wiley.

Fisher, D., & Frey, N. (2013). Books: Better Learning Through Structured Teaching: A Framework for the Gradual Release of Responsibility, 2nd Edition. Retrieved from ASCD: http://www.ascd.org/publications/books/113006/chapters/Learning,-or-Not-Learning,-in-School.aspx

Ministerial Council on Education, Employment, Training and Youth Affairs. (2008). Melbourne Declaration on Educational Goals for Young Australians. Retrieved from http://www.curriculum.edu.au/verve/_resources/National_Declaration_on_the_Educational_Goals_for_Young_Australians.pdf

Open Education Resource:

This my presentation.

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Transcript:

My name is Helena Lomulder. I am a pre-service teacher, with a specialisation in Visual Arts and English, I am also a practising artist.

This presentation looks at my philosophy as an arts teacher and what I can bring to the classroom.

So, I’m looking at my arts practice, its purpose, and how it could benefit my future students.

1) The first slide is a section of a work in progress.

Photographing stages of my work is a recent addition to my practice. I can keep proof that I am the creator of the work.  I may replicate the process regarding the order of the elements that were applied.  It’s a good tool for reflection and I can use it as a learning tool for myself and for others.

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2) Slide two shows a section of the completed work.

This work comments on the collision of the built and the natural environment.  I have intentionally created it to raise questions and for the viewer to speculate on its meaning.

Are the tress encroaching on the urban landscape or are they ghostly reminders of their past selves?

It could be our future or our present or the past. It could be a current status or a prediction.

How is this relevant to arts education?

Recording stages can deliver many benefits because it assists with metacognition, reflection, and communication skills.  This particular work could be the impetus for inquiry, research, and problem solving, about environmental issues, either regional or worldwide level.

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3) Slide 3 is another example of a work I was creating for an exhibition with the theme “Hope in the Present”. The work is entitled “Little Things”.

The experience I have gained through continuing my arts practice outside of a classroom would benefit my future students.  The steps I have noted so far are applicable in the classroom and in real-world situations.  This includes applying for exhibitions, competitions, or accepting commissions.  Also adapting artist statements constitutes literacy practise.

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4) Slide 4 shows a similar section of the finished work.

This yearly exhibition is held by Mental Illness Fellowship Queensland (MIFQ) and is something I have supported for the last three years and will continue to do so.  A percentage of the sale profits go towards the charity, and each year has a different theme but it always relates to having a lived experience with mental illness, either directly or in-directly.

This particular work was the first art work that I sold, which brings me to the next point.  Always keep trying, experimenting, and find value in yourself and your artwork regardless of whether it sells or not.

This painting and its meaning in terms of arts education is about encouraging an individual’s interests, their natural inquisitiveness, and understanding the world through someone else’s perspective.

My philosophy about teaching is that it should be student-centred, nurturing, and about discovery.

The learning must be relevant to real world subjects so that individuals can apply skills to many situations other than those in the classroom or for one subject.

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5) Slide 5 is a section of a current work that I created for a visual arts prize: The Queensland Regional Art Awards (QRAA) 2016.

This is another example of my own professional development outside of the education system, and it requires continuous research, design, experimentation, as I create artworks for exhibitions, sales, and just for art’s sake.

The Australian Curriculum has priorities of cross-curricular learning and general capabilities and, for example, in this work “Juicy” I had to consider the local area, food production, and tourism.  It requires research and observations.  Numeracy is employed, for example, through calculating requirements and working out measurements for mixing and using the resin, interpreting graphs, measuring and applying the rule of thirds in painting.

There is also personal and social capabilities addressed through interpreting works for specific themes.

There is opportunity to develop all these areas in many ways through arts education and to learn transferable skills.  Modelling is the best way that I can bring this into the classroom as an arts educator.


Resources:

Mental Illness Fellowship Queensland (MIFQ: http://www.mifq.org.au/

The Queensland Regional Art Awards (QRAA):  http://flyingarts.org.au/events-and-projects/queensland-regional-art-awards/

The rule of thirds: http://www.finearttips.com/2009/04/rule-of-thirds-composition/

 

 

Creative Commons, Arts Resources and Critical Reflection.

Five possibilities for using arts resources and their copyright usage:

1.“Divine Retribution – Dark Angels”- http://janicekjones.com/divine-retribution-dark-angels/

This resource considers the historical role of angels in art and architecture, and their purpose as bringers of news, retribution, or comfort. Angels continue to feature in contemporary art, jewellery and ornamentation and therefore are a current topic for discussion.

It is an opportunity to discuss assumptions made about angels in order to analyse what experiences influence these schema. Angels are often associated with Christianity therefore, in the spirit of diversity and inclusivity, this may be used as a stepping stone for students to investigate angels or similar beings in various religious and/or cultural beliefs and to explore a range of perspectives. Students could participate in an online survey about angels with each student contributing a question for inclusion.  This employs ICT in a way that allows sharing while students can interpret the results for inclusion in creating their own artwork.

Some students may find the images or concept disturbing, or experience a conflict with their own beliefs and ideas. Alternatives for these students may be in examining characters in childhood stories and songs of a similar nature.

The work is attributed to Janice K. Jones at ArtsSpace, provides an image and reference as a starting point, some sample ideas of the role of angels and an embedded link for another source.  All resources on this site are licensed under Creative Commons by SA (CC BY SA), suitable for adapting, reusing, and sharing, with the condition that attribution is given to the creator and the source site, and any work using this resource is also released under the same license.

2. “St. Mary’s Church: Gargoyle or grotesque” – http://s0.geograph.org.uk/geophotos/04/82/52/4825216_943621f3.jpg

This is an image of a sculpture on the corner of a medieaval English church, with some speculation as to whether it is a gargoyle or a grotesque due to there being waterspouts on the same level already. This is an opportunity for students to research and discuss form and function within architecture and/or spiritualism, religion, and superstitions.

Students can research cultural versions of this type of feature that deals with practicality as well as decoration.  They can evaluate changes in sustainability and ideas for how these features may be adapted or improved to meet current needs, i.e. water conservation and re-use. There is opportunity for students to superimpose contemporary fears into reproducing an artwork that wards off these attacks, i.e. how to defend against loss of wi-fi.

There is information about the age of the church, location, construction materials, and some historical data about people of note through the ages. All useful in researching further information.  The image is attributed Bob Harvey at http://www.geograph.org.uk/photo/4825216 and CC BY-SA 2.0.

3. “Art lesson on Kandinsky” – https://www.tes.com/teaching-resource/art-lesson-on-kandinsky-6104021

This lesson is stated as teaching Numeracy for year 5, although it is also suggested for other age groups too, but focuses on a particular artwork, “Improvisation No. 30 (Cannons)” (1913). The lesson focuses on discussion about the painting and its context, the Russian revolution, building toward students replicating sections of the work and interpreting intention.

This lesson could be extended to focus more on Kandinsky’s evolving abstract style, his motivation for its development, and research about more recent wars and their impact on societies. This lesson is currently limited to students focusing on replicating the artist’s technique and interpretation. Exploring the idea of war and abstraction together allows individuals to focus on the personal impact of war, and gathering statistical data compiled into graphs assist with learning numeracy.

It would be necessary to adjust content of a sensitive nature for any students in the class who may be refugees of war. The lesson attributed to Adam Ralph at https://www.tes.com/au with a CC BY SA license. The Kandinsky artwork is in the public domain.

4. “What’s the story behind the picture?” – https://www.tes.com/teaching-resource/download/11062184/attachment?attachmentId=86e3f789-c2af-454d-abf6-5cf55451c2ad&pageUrl=https%3A%2F%2Fwww.tes.com%2Fteaching-resource%2Fart-and-design-mixed-bag-resources-11062184

This resource includes ten art works from various artists and eras and the title suggest what the task should be. There are no further details included such as teacher notes identifying the names of the artists, artworks, or dates. The teacher could either write their own notes about these works or edit them to include other works. The principle idea is about students interpreting works using schema without knowing any more information other than the image. They may or may not be familiar with some of the works but will draw on art knowledge, and/or personal experience and feelings. Students will be drip-fed further information about the works, i.e. background, context, artist, and will observe any changes to their original interpretation and through reflection activity will analyse their thought-processes.

Metacognition is a cross-curricular skill and literacies, particularly the use of art terminology, will also be addressed.

The work is attributed to Mrshannahlester at https://www.tes.com/teaching-resource/art-and-design-mixed-bag-resources-11062184.  This is a ShareAlike resource, therefore the changes or improvements must adhere to the same license. (I noted this says ‘available to UK teachers’ and there is a US version but it is CC BY SA and is accessible to view.)

5. “EXABYT_A Virtual Reality Art Exhibition Environment” – https://vimeo.com/176272789

The owner of this work co-produced and directed a pop-up digital/physical gallery exhibition. While not specifically designed as an education tool this may be used as a starting point for a lesson. The lesson could focus on the role of technology in creating artworks, or the value and risks involved with displaying works online.

Using this resource relies on supporting technology in the classroom for students to view it although once viewed, it could be inspiration for a task.  Given the appropriate resources students could create digital versions of artworks and then collaborate in small groups to create a maquette of an exhibition space, either indoors or outdoors.  They could film/photograph it and create a presentation to show their peers. Group work supports varied learning abilities and the art work is an individual choice. Most, if not all, students should be familiar with the resource’s aesthetic as it is contemporary and many students have experience with games etc. and the task itself will employs ICT skills.

The work is attributed to Cy Gorman at https://vimeo.com/creativecommons  with a CC BY SA license.

N.B.

I received feedback from one of my peers who noted that the critical analysis of the resources appeared to be complete and, aside from a grammatical error, suggested extending them to refer to more of the curriculum.
In light of this I corrected the error and also proof-read the content again. Having read my post again, I believe it meets with the requirements and to add more detailed curriculum links would be more in line with developing a lesson plan, therefore I have made the decision to not pursue that direction.

 

Why Teach the Arts?

Well. Lets start with some different perspectives such as my fellow student, Elly’s, blog.  There are some useful links where she has shared some references in more detail but Elly identifies two points as pertinent to her own philosophy:

“The arts expand on and enrich learning in other subjects” and “The arts teach teamwork! Children learn tolerance and understanding of others”.

The arts have other benefits in the development of an individual that are applicable in many areas of life. Many of the Common Curriculum Elements (CCEs) that contribute to the Queensland Core Skills Test (QCS) are located within the arts subjects and are recognised as providing 21st Century skills that employers desire in their employees. In the Review of the Australian Curriculum Final Report, p. 214, subject matter specialist, Dr John Vallance, makes some points that resonate with my own philosophy:

“First they build social confidence and self-respect.”

“… it has been well documented that a broad grounding in the arts is an effective prophylactic against some forms of anti-social political extremism”

“… young people who have received training in the creative arts alongside other, more academic parts of their education, take a broader and more generous view of their obligations as citizens than their peers with a more narrowly focused education.”

How this links with my own experience and philosophy:

The first observation compliments my results from the Teaching Perspectives Inventory that identified my dominant perspective in teaching as Nurturing. If students feel confident, content, and encouraged, they are more likely to want to learn. This is closely followed by Apprenticeship whereby the teacher scaffolds tasks and gradually relinquishes more responsibility to the learner. This also builds confidence in the individual as they are in control of their own learning and at their own pace (zone of development).

Social Reform is my third perspective and closely aligns with both the second and third observations from Vallance.  The objective is to challenge social or political issues through deconstructing texts, both written and symbolic, by questioning intent, who or what is excluded, and considering alternatives. In order to effect change, individuals need the skills to analyse and critique the world around them and to construct viable solutions. If an individual does not feel valued they are disinclined to contribute and participate, therefore the first two Teaching Perspectives are paramount for Social Reform to succeed.

It would seem that the arts are perfectly suited to my own teaching philosophy and to producing well-rounded citizens of the future. My own personal experience as a contemporary student mirrors the Australian Curriculum’s (p. 4) use of an inquiry learning model. Having to research, develop, reflect, and resolve, helps me to develop higher-order thinking skills and to think about my own way of processing information (metacognition). As a future teacher I believe that by exploring issues with real world contexts, such as social, political, or environmental, also supports a problem-based and problem-solving education. This is far-removed from my own experience in the arts as a secondary school student that was not content-based and was seen as a ‘break’ from academia. It seems that this misconception lives on in many parents who also experienced a similar education to mine. However, there has been a huge shift in how the arts are taught as the focus now is more purposeful; the intent of which is to provide students with transferable skills that assist them in gaining employment, for further study, or in their personal life. If we can assist students in understanding the benefits, we can demonstrate the benefits to parents and the rest of the world alike.

 

 

 

 

 

Musings, Reflections & Resources

I feel that I have spent an inordinate amount of time setting up pages and navigating around this site and not nearly enough time actually reading and learning for this course. Currently feeling very disheartened but I will persevere as there is no quitting.

Hopefully, in time I should have some helpful information on this page that is also worth sharing and reflecting on.