Critically explore approaches to engage and/or inspire pupil learning in Art and Design
Leanne Katchi
20079166
Cardiff Metropolitan University
PGCE Secondary (Art and Design)
Introduction
Strategies to teach through and for creativity
The return of creativity was realised by government, that creativity is eminently suited to the multiple needs of life in a new century, promoting skills of adaption, flexibility, initiative and the ability to use different knowledge. As its importance for both individual and the nation, in a rapidly developing society and world. In All Our Futures: creativity, Cultures and Education, a report by the National Advisory committee on Creative and Culture Education (NACCE) suggest that creative teaching should be made part of all academic education, which was the first time that this issue was been recognised. In the report the government acknowledged the significance of developing the creative skills of children, as these could become essential in future workplaces.
How can children adapt and accept mistakes to invent and invest time into their own outcome? Creative learning aids to these experimentation skills. It enables children to take ownership of their work. In which people recognise creativity, which is a defining human characteristic. In regard to teaching creativity and teaching for creativity is the first step of disguising. This can be seen in Wood’s framework which features, creative teaching, relevance, ownership, control and innovation. (REF) The NACCE report highlights the difference between teaching creatively and teaching for creativity. Teacher creativity can be interpreted as a teacher being inventive and developing strategies to engaged and encourage students, whereas teaching for creativity focuses on strategies that aim to develop the creative skills of learners.
I believe creativity plays an important role for both teacher and pupil, and people should start thinking of strategies to enable performance boost. a class room that ignores creativity suggest that ideas are not listened to, controlling teachers and excessive structure exists. Pupils will end up demotivated, as their minds cannot be encouraged or focused on something I like to call ‘bored bums’. However, I do also believe these two things can work alongside each other having structure but also creativity.
Within my observations I have experienced both primary and secondary schools where I have seen the creative strategies used, being every active in the way that is taught, and other teachers have more behind desk structure. There are positive and negatives for both of these which I will explore.
Biggest challenge for teachers is capturing every child’s attention and conveying ideas effectively to create a lasting impression. My placement at primary, I have experienced teachers use creative strategies, within my observation notes I have written everything I have experienced during my time there, concentrating on the creative activity over the last 4 weeks, also the transition to my second placement. My observation notes are my evidence in how creativity is being effective in lesson and how creativity manages to be taught and improve on ‘creative skills’.
LIT REVIEW
Present a structured, coherent critical and reflective review
• The NACCE reports, OFSTED, Robinson report.
Controversial Creativity
Lancaster (1990 p.10) states art in the classroom is sometimes misinterpreted as ‘play’ thus taking time away from more significant curricular, which Beetlestone also suggest that ‘teachers initially might be worried that this could all just be seen as messing about’ (beetlestone, pp.16) However, for Lancaster teachers recognise that in child’s terms play is synonymous with work, children are therefore still trying and working towards a final outcome, they enjoy the act of striving for something. Obrien comments on fun being a desirable by product of learning, as teachers we inspire for our pupils to feel our lesson content is accessible and stimulating but could fall into the trap of fun on a laborious task, as we equate lack of engagement and motivation with boredom, stating that learning doesn’t need to be fun but it does need to be satisfying, fulfilling and rewarding(REF)
However, Smith thinks that education is first and foremost about the enjoyment which desires for knowledge and sit at the ore of all effective learning, therefore motivation and ways to teach effectively through means are subjective. (Smith, D. 2013) which also is appropriate to today’s new curriculum of the Donaldson Report in Successful futures, he explains within Principles of curriculum design, highlighting on authentic, evidence-based, responsive, inclusive, ambitious, empowering, unified, engaging, based on subsidiarity and manageable.
For children to be engage in a lesson, it has to be active and creatively satisfying which echo’s O’brain thoughts but as Florence Beetlestone comments on the importance of creativity by appealing to the emotional and aesthetic responses to learning. She also mentions that ‘desk work’ has it place, and teaches children good habits and developing basic skills, but if child is over concentrating, then that could result in children being less engaged and bored ‘children who are interested; concentrate; if they feel they see the relevance of the activity they will engage in it until they have mastered it.’ (F Beetlestone 1998 pp. 11)
Florence Beetlestone uses ‘cameos’ to represent her point of view having different creative strategies within young children. One she explains is to do with Lego of year 1 class, who figures about that there are parts missing. The teacher sees an opportunity for the children to go on investigation, allowing the children to creatively use problem solving, which the children are intrigued and start to investigate. Questioning the placement of this Lego, inventing many scenario’s to why is has gone missing. These creative suggestions later lead to more exciting literacy work. In her book she mentions Burners idea of ‘scaffolding’.
Bruner was influence by Vygotsky who shared Bruner’s belief that child’s social environment and social interactions are key elements of learning process. In which Bruner Scaffolding theory identifies the importance of providing students with enough support in the initials stages of learning a new subject. Teachers should use the theory to ensure they are encouraging and providing additional props.
There are five criteria for effective scaffolding:
1. Student ownership of learning event- making their own contribution to the activity.
2. Appropriateness of the instructional task- where the task is built upon knowledge and skills the student already possesses.
3. A structure learning environment- so students will be equipped with useful strategies and approaches to the task.
4. Shared responsibility – The teacher is more collaborative then evaluative. Tasks are solved jointly in the course of instructional interaction.
5. Transfer of control – students internalize new procedures and routines. Enabling pupils to become more competent when taking greater responsibility for controlling of tasks and progress. (Foley, J. 1994, Pp.101)
An educational trainer, and writer Pie Corbett, has many talks within creativity writing strategies to enable enjoyment within thinking outside the box. However, when being introduced by my mentor in my primary placement, I came across his blog, he attended an art gallery in New South Wales in Sydney, where he was able to look at aboriginal art, his find out more about a painting commenting on how they are not just designs but he is intrigued that the paintings are actually story maps. He took his experience that he had encountered with the painting and applied a strategy that enabled a group of boys (ages 3 & 4) who were equipped with larger piece of paper to share. They had various characters, that happened to emerge a story, his involvement encouraged the children by labelling the character he drew, the pupils started to copy. ‘it struck me that he was more than ready to learn his initial sounds, have more practice at pencil control and begin to move into early writing’ (Corbett, P. 2014) He used the painting of aboriginal art as inspiration to create this strategy as it was a sophisticated way to capture a story. Having opportunity for further learning and enjoyment into a new task, to think more creatively ‘The map is the bridge into language- it captures our thoughts and preserves them.’ Pie Corbet called the children’s drawing ‘The Story maps’ which he comments the 4-year olds were able to possess the close conjunctions between the tale and the art. (Corbett, P. 2014)
In Rob’s book he talks about misconceptions of creativity, which one that I wanted to mention is that ‘creativity only happens in particular sorts of activities, especially the arts’ in which I agree with, that people do have this assumption that being ‘classed as creative’. If you can do an arts and craft or design etc. However, he mentions that ‘artist do aim to produce original work, at their best they are highly creative, but daily work of artist involved more than surfing constant tide of inspirations’ Which is correct as it involves a hug amount of practical routine, with refining and controlling materials and techniques’. Personally, I feel that I have experienced this, being a what you call ‘practising artist’ and being involved in education these assumptions that only a certain type of character/occupation can be regarded as creative. As Rob puts it, creativity is a ‘function of intelligence’ suggesting that this misconception of creativity is still a problem within schools and society.
Rufuse Norris questions on how ‘Creativity can be taught to anyone. So why are we leaving it to private schools’ (Norris, R 2018) in which his article suggests that the education policy ‘deliberately squeezing the creativity out of our children’s education’ having a 25% drop in pupils taking creative subjects from 2010 but in private schools teaches against the prevailing and constrictive tide. ’Creative confidence brings initiative and freedom of thought, understanding of teamwork and communication that sits at the heart of a dynamic and successful working life.’ (Norris, R. 2018)
Subject Specific.
Within subject specific area of teaching Art and Design, creative can be quite difficult to determine how can pupils learn to be creative or if they are already having creative progress then how do you challenge that for them to become more creative.
Emily Gorpaul who is a primary art specialist comments on how enthusiasm for art should really start at primary school and explores ways in which teaching art is beneficial as many primary schools are missing out on vital part of education and life if art is excluded. She comments on how the art curricula should cover a range of styles, genres, artist, books and galleries. Ensuring it can be connected to historical or geographical, or Cultural. It opens up further opportunities to develop visual literacy. Another positive is teacher can encourage children to start thinking critically about images asking many open and closed questions.
Emily says the most important is ‘how children need to understand that art is made by all sorts of people, in a variety of ways and should feel represented by the art and artist they are exposed to’ (Gorpaul, E. 2018)
Emily also gives suggestion on how to get art into more lessons by introducing ‘bite-sized classes’ which can be 10-30 mins which could link into different subjects (history or English). Exercises could include looking at a piece of art and discussing it, practising drawing skills. Activities being easy, quick and mess free.
Anna Craft talks about how the relationship of teacher and student is more of a collaboration rather than the teacher judging or evaluating. Making more sense rather than just being regarding as teaching. Of course, art teachers are at the end of the day are teaching a subject, but it goes beyond that, we discuss ideas, have input and suggestions to ideas and techniques. I have also experienced this within my observations within secondary placement. Using the scaffolding effect in art and design where a pupil has an initial idea and then when having tutorials with teacher on a one to one basis, you can see the opportunities to develop and grow. Which is properly most satisfying to experience.
R, Norris suggests in his article that there has been a 25% drop in number of children taking GSCE creative subjects and states that creativity should not be perceived as expectational talent, it is a basic skill that can be mastered with the right teaching and approach. Which within my observations a good knowledge of many areas of art and design is essential which also goes well with Addison, N. Burgess, L stating ‘Subject knowledge is richer and deeper, which means it can be better integrated. Meaning that it’s likely that teachers will be more confident, and open to children’s idea, contributions, questions and comments. (Addison, N. Burgess, L. 2000. Pp11)
For an artist or designer to train as a teacher raises fundamental and complex questions about professional integrity, creative energy, belief system and self-image. (Addison, N. Burgess, L. 2000. Pp 9). As a reflective teacher you come to recognise the problematic nature of teaching art and design and systematically reflect upon your practice in order to improve it. In doing so you simultaneously become engaged in teaching and learning a relationship that echoes the quality of creative activity in art.
Within art as a subject and my observations in my secondary placement it would naïve of me to think that are no difficulties when trying increase opportunities for creativity or trying to engage within lessons, but Florence Beetlestone talks about Fryer’s study (1996) of the 1000 teachers project, he thought there were six key factors which hindered the development of creativity.
• A constrained environment
• A home background where child’s activities were mostly proscribed
• Teachers encouraging ‘quick’ work
• Assessment by examination
• Peer group pressure
• Stressing differences between work and play. (Beetlestone, F 1994.Pp 98-99)
Beetlestone goes on to discuss how ways of planning for creativity, one which being lesson plans, which is essential ‘children learn through interaction with materials and each other’ (Beetlestone, F 1994.Pp99) also stating that a well-planned lesson will be effective when managing classes regardless of the size, resources or lack of space.
Moyles (1989:78) ‘Teachers who encourage creativity and artistic expression, through providing children with appropriate techniques and materials’ (Beetlestone, F 1994. Pp99) I believe one of the importance I have witness within my observations in high school and primary is that give the appropriate equipment and instructions the pupils can be very experimental which I think is essential in order for them to become creative or learning to become creative even that means making loads of mistakes.
Hickman also suggests that ‘the ability to be creative is quintessentially human and such ability is common to all’ The characteristics of creative person involves being imaginative, purposeful, original and is concerned with quality or value. (Hickman, R 2010. Pp. 117) agreeing with Hickman that anyone can be creative, but how we are taught and equipped to learn to be creative completely depends on abilities, suggesting that creativity comes in levels like Beetlestones comments ‘not all children will response to creativity in the same way (Beetlestone, F, 1998. Pp34) but that’s not to say they are not creative, they just have different perceived notions.
So it is up to the teacher to be able to challenge and try to engage pupils within perhaps experimenting with a variety of techniques and materials and as Hickman puts it ‘’you are encouraged to think about each session you teach as a complex and subtle performance that is determined by your knowledge and understanding, skills and attitudes’(Hickman R, 2010. Pp.10)
Research method
As a research method, observing is a critical method within the education system as it can enhance your teaching practice through collecting information which can be used to reflect on and improve. Observations enable the investigator to gather data on, physical setting, the human setting, the interactional setting and the programme setting. Where situations unfold, connections, cause and correlations can be observed as they occur over time (Cohen, L. Manlon, L. Morrison, K. 2007. Pp.397) Other words it is intense and real-life situations which the observer is able to collate data, beneficial when seeing how different pupils learn. High lightening ways in which the teacher uses strategies to engage, motivate and inspire within the classroom.
However, observations have been claimed to be bias and especially solo observers which have the ‘danger if accusations of bias, or misinterpretation and particularly if you are researching in your own professional area’ (Bell, J 2010. Pp. 192)
Observation has its complications, as ethical considerations place concern over a study involving children. To address the Ethical Guidelines for Educational Research by the British Educational Research Association (BERA, 2011) no pupil, teacher or organisation will be named independently, safeguarding privacy procedures.
Furthermore, observation can be beneficial only if it done well according to Peter Newby. ‘there is a sense amongst some new researchers that observation is easy, all you have to do is walk around until something strikes you’ Newby comments how this is not the best way of looking at it as it can affect your data, as the most unusual things are the most striking, but not the most useful so research might end up not valid and unreliable. (Newby, J. 2014, pp 347) which also states in BERA Guidelines that ‘Researchers must employ methods that are fit for the purpose of the research they are undertaking’.
Judith bell also comments on unstructured observation that even if there is no clear idea of purpose of the observation, leads to no detail but the researcher doesn’t use predetermined categorises but rather an open-ended way. Making sense for categories and concepts will emerge over a period of time, rather being imposed from the start. The research is able to start to analysis later when there is more information of data collected. (Bell, J. 2010. Pp 192-193)
Linking Theory to Practice
Within my experience in primary placement, throughout the lessons the teacher engages pupils with a lot of active learning, in which I believe to be a creative strategy to get pupils off ‘bored bums’ and involved. For each task within my morning observations, miss would gather children to the carpet for instructions and introduction to the tasks. Using lots of higher order questions to make sure that pupils really understand and think more deeply of what is expected of them. Another way of this is exploratory talk, a significant feature that Mercer (2008) states being a good strategy for development, as the leaner is engaged in a small group. Where a small amount of information or ideas are grasp and through talking and questioning within the group the learner has clarity on their own understanding.
Throughout my lessons with small groups of year 5, creating discussions as a group before starting a task involving questioning which I thought was really good practice in ensuring that children understood and started using their imagination and ideas to influence and inspire each other. ‘Teaching creatively can improve the quality of education, make learning more meaningful and open up more exciting ways of approaching the curriculum.’ (Beetlestone, F. 1998. Pp, 11) Strategies within the primary school were all every much active, and collaborative when coming to young children, but who were engaged within lessons, even though they had routine and was very structured to the lesson, within subject specific areas of e.g Literacy and maths in the morning there was a daily rotation. Were 3 groups being either, GGR, playing literacy card game of questioning each other, or reading magazines as documented in F1 – focused observation 10/08/18. This means that children get to change to their daily reading books and can gain enjoyment out of it, expanding their resources and knowledge through an independence.
Engaging interest in any subject is difficult but when it is something ‘fun’ it can been seen as a creative way of learning, because ‘just listening and repeating is just boring. They want to learn about the Tudors, but they also want to have fun. People say the best way to get something into your minds is to have fun’ (Jeffrey, B. Woods, P. 2009. Pp 21.) Art lessons within primary school while observing in year 5, the teacher sees the opportunity for a connection between history and creative enjoyment.
Pupils worked in small groups, to create a design for a flag (inspired by their trip to St Fagan’s). In which they had to create a title and imagery. Some children used initials, involving everyone’s first letter of their names, making it personal to everyone in their group, some creative a team name. This allowed pupils to be inventive, having the flexibility but also opportunity to discuss ideas and thoughts to come to an agreement as a collaboration.
Within my lessons which was also linked to Tudors, I tried to encourage play and experimentation, even though it may be controversial, it motivates their interests and development of knowledge. ‘Creativity makes life more fun, more interesting and fuller of achievement’ (De Bono, E. 2007) Leading on to another important element of creativity is innovation, where pupils made connections with playfulness and ideas. Offering advice, and opportunity to open up for further development and research echoing Brurners scaffolding theory. In which I really wanted children to feel proud and take ownership of their art work to create the sense of achievement by evaluating their work and going on a hunt around the school to find a place to exhibit their artwork. This really made the pupils involved and excited that the whole school would be able to view their work. Which was really important for me as a teacher and an artist to make them feel that achievement in themselves. ‘94 percent of youngsters rate ‘achievement’ as the most important thing in their lives. Creativity is the key skill needed for achievement’ (De Buno, E. 2007. Pp 1)
During my short time at high school, I have witnessed a lot as Art seen more as a subject as it isn’t really taught within primary schools, just sometimes touched upon now and then. However, my main concern and thought when observing lessons is the idea of how these teachers get pupils engaged into a lesson and develop skills. However, in my time I have seen little strategies to motivate students within lessons. In me of my observations theirs is little links. Just simple starts activities and involving with group discussions. It seems to be more concerned on control of behavioural in some lessons and then the teacher who does try and involve little creative strategies to engage children is disturbed by not enough structure within lessons.
Strategies used by miss involve, demonstrations within questioning involved to make sure pupils are paying attentions, beneficial for pupils to have a guidance and idea of what is expected of them. Encouraging the use of different mediums e.g chalk, oil pastels and pen. ‘Being creative involves doing something: it takes place in a medium. Real creativity comes from finding your medium, from being in your element’ (Robinson, K. 2001. Pp. 129)
In two of my observation involve a small group that miss teaches in which I will be taking over, these were taken out of quite a big class as they were too distributive so miss has them every fortnight. My first encounter with the year group was very shocking, none of them were motivated or engage, and it really frustrated me that there is no experimentation within the art teachers to use different techniques or strategies to even try and get them engaged. I did request for myself to teach this year group as I wanted a challenge. To prove myself either wrong or write in apply some strategies that I have researched. My second encounter with the same year group, me and miss discussed about an artist Mr Brainwash, who is a street artist who may work well with the type of people on the year group. The difference in behaviour and engagement was so shocking but pleasing. Everyone was on task and produce a piece of work. Miss used video to engage their interest, then following a demonstration of the lesson in which she used pen and wash technique. The lesson was much more stimulating for the pupils in year 9 and all had interest in developing this skill. ‘Teachers have to encourage creativity and artistic expression, through providing children with appropriate techniques and materials’ (Moyles 1989:78) (Beetlestone, F. 1998. Pp99)
Target setting
Both my placements within primary and secondary have given me the potential to improve on my knowledge in order for me to inspire, motivate and engage pupils to learn how to be creative. I must learn from my observations and also my experience as an Artist in Residence, which allowed me to develop professional qualities of creative learning well working with young children, giving them an opportunity to experiment with new methods and techniques that was both satisfying and achievable.
Creativity can be suppressed by the wrong medium’ (Robinson, K. 2001. Pp. 129) In order for me to develop I must motivate students to use experimentation an important element to be becoming more skilful and to create opportunities for pupils to improve on creative skills in an enjoyable and achievable manner as there is a huge potential for students identify their progress and development. I believe there isn’t enough encouragement within the classroom of experimenting with teaching strategies myself. I would really like to challenge myself during this experience SE1 to gain as much ‘trail and errors’ of different ways of teaching too see if certain theories and statements are true. From experiences and observations with high school specially, my targets I have set for myself include:
• Ensuring everyone learning needs, to maximise potential, challenging both SEN and MAT pupils, along with appropriate resources (S1.1). Having experience hearing impaired pupils within my class in the AIR project, it really was an eye opener to ensure that I am to meet everyone needs to ensure aims and skills are met. Also, being able to understand behavioural challenges with LAC, and ensuring EAL children understand tasks and aims creating a fair environment for all.
• I want to make sure I am using creative strategies to inspire leaners, in a professional high standard, to demonstrate and develop by encouraging pupils. (S1.3) I think this is really important for me as within my observations there is a lack of creative strategies and learning to make pupils engaged in the lesson throughout. Tackling any behavioural problems appropriately applying to school policies through a positive approach.
• To use my subject knowledge to motivated pupils and to continue to improve and develop upon my knowledge (S2.1) to ensure I can give support to those who need it and to answer any question in confidence so that pupils can have trust in me to help and support any leaners progress.
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References
Books
Addison, N. Burgess, L. Leanring to Teach Art and Design in the Secondary School. A Companion to School Experience. RoutledgeFalmer.
Beetlestone, F. (1998) Creative Children, imaginative teaching. Open University Press.
Bell, J. (2010) Doing Your Research Project. Open University Press.
Cassell Education (1995) Teaching Art and Design: Addressing Issues and Identifying Directions. Edited by Roy Prentice.
Craft, A. Cremin, T., and Burnard, P. (2008) Creative learning 3-11 and how we document it. Trentham Books Limited
Creft, A. (2011) Creativity and Education Futures learning in a digital age. Trentham books limited.
Craft, A. (2005) Creativity in Schools Tensions and Dilemmas. Routledge.
Hickman, R. (2006) Art Education 11-18.
Hickman, R (2010) Why We Make Art and Why it is Taught. Intellect.
Lancaster, J. (1990) Art in the Primary Classroom. London: Routledge.
Newby, P. 2014 Research Methods for Education. Routledge. Pp 347
Robinson, K. (2001) Out of Our Minds. Capstone Publishing limited.
Jeffrey, B. Woods, P (2009) Creative learning in the Primary School. Routledge.
Online Blogs/Websites
British Educational Research Association. (2011) Ethical Guidelines for Educational research. [online]. Available at: https://www.bera.ac.uk/wp-content/uploads/2014/02/BERA-Ethical-Guidelines-2011.pdf?noredirect=1
[Accessed 14th October, 2018]
Corbett, P. (2014). http://piecorbett.blogspot.com/2014/07/some-thoughts-on-story-maps.html. [Blog] some thoughts on story maps. Available at: http://piecorbett.blogspot.com/2014/07/some-thoughts-on-story-maps.html [Accessed 17 Oct. 2018].
Estyn (2015) Best practice in teaching and learning in the creative arts at key stage 2. [online]Available at: https://www.estyn.gov.wales/sites/default/files/documents/Best_practice_in_teaching_and_learning_in_the_creative_arts_at_key_stage_2_-_May_2015.pdf [Accessed on 24th October, 2017]
Foley, J (1994) Key concepts in ELT: scaffolding. ELT Journal, Volume 48, Issue 19[online] available at: https://academic.oup.com/eltj/article-abstract/48/1/101/3113988?redirectedFrom=PDF Accessed 25th October 2018, Pages 101–102.
Gopaul, E (2018) TO foster a love of art in children, we must teach it at primary school[online] accessed on 25th october 2018. Available at: https://www.theguardian.com/teacher-network/teacher-blog/2018/feb/14/art-education-primary-school-creative-industries
Norris, R (2018) Creativity can be taught to anyone[online] Accessed on 25th October 2018 Available at: https://www.theguardian.com/commentisfree/2018/jan/17/creativity-private-schools-uk-creative-industries-state
O’Brien, J. (2017) ‘Making things fun will not solve behaviour issues,’ TES, No.5265 (September), pp.53.
Smith, D. (2013) An independent report for the Welsh Government into Arts in Education in the Schools of Wales. [online] Available at: http://gov.wales/docs/dcells/publications/130920-arts-in-education-en.pdf [Accessed on 25th October, 2017]
Welsh Assembly Government: Department for Children, Education, Lifelong Learning and Skills. (2008) Art and Design Guidance for Key Stage 2 and 3. [online] Available at: http://learning.gov.wales/docs/learningwales/publications/130424-art-and-design-guidance-en.pdf [Accessed on 25th October 2018]