What Should We Consider When Planning Art Curricula?
September 14, 2014
Summary
In the early 1960’s, Manual Barkan introduced the arts as a discipline movement. The movement suggested that art curriculum include three art domains: production, history, and criticism. Barkan also recommended that the art curriculum include strategies that focused upon themes centered on life problems. In the 1980’s, art curriculum progressed with the introduction of discipline-based arts education (DBAE). DBAE advocates believed curriculum could be more comprehensive if student experiences did not primarily focus on art production, and if it included history, criticism, and aesthetics. Within a few years, The Getty Center for Education in the Arts opened and aligned with the arts as a discipline movement and promoted DBAE. They established regional institutes offering professional training and support to teachers. Art education continued to evolve and transform with the introduction of state and national art standards.
Key Points
In chapter two, the authors explain that art educators are no longer randomly choosing curriculum on personal likes and dislikes. Standards have been put in place that provide an outline of what students should know and be able to do. Although the standards require specific topics, teachers recognize that students do not always grasp the material. Understanding goes deeper. Therefore, more accurate measurements of assessment are required.
Due to the fact that many art educators were unfamiliar with different means of assessment, multiple methods have been and are being developed. Some include: “observations and dialogues, portfolios, performance tasks and projects, and traditional tests and quizzes” (Stewart & Walker, 2005, p. 12). Although the idea of student assessment was initially resisted, over time it has proven to benefit art education. Now art educators are developing assessment within the lesson plan and their ability to examine student knowledge is increasing.
The restructuring of curriculum and the introduction of detailed assessments has prompted educators to investigate student learning and teaching. They now recognize that knowledge needs to be constructed by the learner. Students need to be provided with a “variety of thought-demanding things with a topic—like explaining, finding evidence and examples, generalizing, applying, analogizing, and representing the topic in a new way” (Stewart & Walker, 2005, p. 12). Teachers must shift from information distributors to fellow inquirers. It is necessary for curriculum to be relevant, encouraging students to generate and investigate questions. Curriculum units constructed by following a process help focus students toward inquiry and investigation. The process includes choosing an enduring idea, followed by the subsequent steps: key concepts, essential questions, unit objectives, instructional plans, and a summative assessment.
Enduring ideas connect “academic subject matter with life-focused issues” while encouraging student participation (Stewart & Walker, 2005, p. 25). They increase probabilities of a deeper understanding while promoting skills that prepare students for real life. An entire school or a single teacher can use enduring ideas. They can be a connector for an entire curriculum, a course of study, or as a single unit. Selection of an enduring idea begins by asking various questions. For example, how does this idea relate to my students present and future interests and needs? How does this idea relate to contemporary culture?
The authors also believe curriculum choices need to consider relevance and incorporate diversity. Relevance addresses: student interest and needs, artistic understandings and processes, and contemporary culture. These areas should be well thought out and should guide curriculum development. Diversity involves an awareness of considerations regarding ideas, issues, themes, artists, artworks, artifacts, or cultures to be studied. These concerns should be taken into account after areas of relevance have been put in place.
Stewart and Walker suggest specific steps to take when developing foundations for curriculum. The first step is to decide who will be using the curriculum. Next, the enduring idea is selected and a rationale is written explaining the idea’s importance. Key concepts are created, selected, and prioritized. Essential questions are then developed from the key concepts to bring focus to the lesson. Sometimes only one question is needed but other times as many as three may be used. Objectives are then written to pinpoint what students will understand and restate the focus of the lesson. Finally, individual lessons are put together to direct the students toward the enduring idea. The lessons include objectives, assessment, and standards.
Personal Reflection
One lesson I would like to incorporate from Stewart and Walker (2005) is the fourth-grade lesson on identity (p. 28). I have many young authors in the fourth grade class. I believe incorporating the van Gogh story and letter, along with self-portraits by Frida Kahlo will create a depth that has been missing from their self-portrait lesson. Essential questions could include, what is a self-portrait? How can portraits and self-portraits help you think about your own and others’ identity?
Finally, Stewart and Walker’s information on assessment has reinforced the importance and need for a variety of assessment tools. As I am incorporating new methods such as artist summaries, self-evaluations, and discussions, students are taking their work more seriously and expressing a deeper interest in what they are creating. I believe as I apply strategies for choosing enduring ideas, creating key concepts, and establishing essential questions, I will see even more improvement in my student’s artwork and in their understanding and knowledge of the arts.
References
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 7-36). Worcester, MA: Davis Publications, Inc.
September 14, 2014
Summary
In the early 1960’s, Manual Barkan introduced the arts as a discipline movement. The movement suggested that art curriculum include three art domains: production, history, and criticism. Barkan also recommended that the art curriculum include strategies that focused upon themes centered on life problems. In the 1980’s, art curriculum progressed with the introduction of discipline-based arts education (DBAE). DBAE advocates believed curriculum could be more comprehensive if student experiences did not primarily focus on art production, and if it included history, criticism, and aesthetics. Within a few years, The Getty Center for Education in the Arts opened and aligned with the arts as a discipline movement and promoted DBAE. They established regional institutes offering professional training and support to teachers. Art education continued to evolve and transform with the introduction of state and national art standards.
Key Points
In chapter two, the authors explain that art educators are no longer randomly choosing curriculum on personal likes and dislikes. Standards have been put in place that provide an outline of what students should know and be able to do. Although the standards require specific topics, teachers recognize that students do not always grasp the material. Understanding goes deeper. Therefore, more accurate measurements of assessment are required.
Due to the fact that many art educators were unfamiliar with different means of assessment, multiple methods have been and are being developed. Some include: “observations and dialogues, portfolios, performance tasks and projects, and traditional tests and quizzes” (Stewart & Walker, 2005, p. 12). Although the idea of student assessment was initially resisted, over time it has proven to benefit art education. Now art educators are developing assessment within the lesson plan and their ability to examine student knowledge is increasing.
The restructuring of curriculum and the introduction of detailed assessments has prompted educators to investigate student learning and teaching. They now recognize that knowledge needs to be constructed by the learner. Students need to be provided with a “variety of thought-demanding things with a topic—like explaining, finding evidence and examples, generalizing, applying, analogizing, and representing the topic in a new way” (Stewart & Walker, 2005, p. 12). Teachers must shift from information distributors to fellow inquirers. It is necessary for curriculum to be relevant, encouraging students to generate and investigate questions. Curriculum units constructed by following a process help focus students toward inquiry and investigation. The process includes choosing an enduring idea, followed by the subsequent steps: key concepts, essential questions, unit objectives, instructional plans, and a summative assessment.
Enduring ideas connect “academic subject matter with life-focused issues” while encouraging student participation (Stewart & Walker, 2005, p. 25). They increase probabilities of a deeper understanding while promoting skills that prepare students for real life. An entire school or a single teacher can use enduring ideas. They can be a connector for an entire curriculum, a course of study, or as a single unit. Selection of an enduring idea begins by asking various questions. For example, how does this idea relate to my students present and future interests and needs? How does this idea relate to contemporary culture?
The authors also believe curriculum choices need to consider relevance and incorporate diversity. Relevance addresses: student interest and needs, artistic understandings and processes, and contemporary culture. These areas should be well thought out and should guide curriculum development. Diversity involves an awareness of considerations regarding ideas, issues, themes, artists, artworks, artifacts, or cultures to be studied. These concerns should be taken into account after areas of relevance have been put in place.
Stewart and Walker suggest specific steps to take when developing foundations for curriculum. The first step is to decide who will be using the curriculum. Next, the enduring idea is selected and a rationale is written explaining the idea’s importance. Key concepts are created, selected, and prioritized. Essential questions are then developed from the key concepts to bring focus to the lesson. Sometimes only one question is needed but other times as many as three may be used. Objectives are then written to pinpoint what students will understand and restate the focus of the lesson. Finally, individual lessons are put together to direct the students toward the enduring idea. The lessons include objectives, assessment, and standards.
Personal Reflection
One lesson I would like to incorporate from Stewart and Walker (2005) is the fourth-grade lesson on identity (p. 28). I have many young authors in the fourth grade class. I believe incorporating the van Gogh story and letter, along with self-portraits by Frida Kahlo will create a depth that has been missing from their self-portrait lesson. Essential questions could include, what is a self-portrait? How can portraits and self-portraits help you think about your own and others’ identity?
Finally, Stewart and Walker’s information on assessment has reinforced the importance and need for a variety of assessment tools. As I am incorporating new methods such as artist summaries, self-evaluations, and discussions, students are taking their work more seriously and expressing a deeper interest in what they are creating. I believe as I apply strategies for choosing enduring ideas, creating key concepts, and establishing essential questions, I will see even more improvement in my student’s artwork and in their understanding and knowledge of the arts.
References
Stewart, M. G., & Walker, S. R. (2005). Rethinking Curriculum in Art (pp. 7-36). Worcester, MA: Davis Publications, Inc.
