GAMIFICATION STRATEGIES IN STUDIO ART CLASSROOMS: CAN THEY IMPACT STUDENT MINDSETS IN ARTISTIC COMMUNITY, ENGAGEMENT, GROWTH, AND EXPLORATION?

Statement of Problem

In some studio art courses, students do not have powerful and meaningful art experiences. This may be due to lack of personal engagement and motivation, but also to a reluctance to challenge themselves and take the risks involved in exploring new things.

Abbreviated Purpose of Study

This empirical study will use a qualitative action-based research methodology in three high school ceramics studio art courses over the course of four months to see if various game mechanics can be designed and implemented in ways that support both the New National Core Arts Standards and the Eight Studio Habits of Mind.[1] Student artworks, engagement, responses, explorations, achievements, and progress will be closely observed and documented to evaluate whether gamified strategies can be used to help strengthen student’s sense of artistic community, engagement, growth, and exploration. Those observations will then be used to help evaluate how classroom gamification strategies could positively impact student engagement, mindsets, and willingness to challenge themselves and their artworks to grow to new levels and explore things beyond course requirements and assignment expectations.

Context of Problem

Student engagement, motivation, and growth have been key issues in education. According to Jon Douglas Willms (2003), meeting the needs of youths who have become disaffected from school is perhaps the biggest challenge facing teachers and school administrators today (p. 8). Students who are disengaged, uninvolved, and not motivated to challenge themselves, try new things, or explore, tend to struggle with achieving success in those courses. That lack of student engagement, motivation, interest, and growth results in less meaningful learning and educational experiences. Willms’ (2003) study on student engagement in schools around the world found that schools have higher levels of student engagement when there was a strong disciplinary climate, good student-teacher relations, and high expectations for student success; further, student engagement has more to do with the culture of the school, and teachers can play a strong role is creating a positive culture. If a classroom teacher could help create such an environment, students could become more engaged in their learning and be less afraid to challenge themselves and take risks while exploring, in turn leading to more meaningful and confident student growth, understanding, and success.

Background of Problem[2]

“The educational structures built on the needs and desires of our great grandparents’ generation are fundamentally different from those of students of today,” and today’s world require us to adapt by creating “more dynamic learning environments and methods of teaching” (Matera, 2015, pp. 25-26). According to Matera, the old world of teaching still emphasizes producing followers, controlling students, plotting paths, quiet compliance, automatons of knowledge, constructing lessons, students as passive receivers of content, and traditional, fossilized ways of teaching. The residual structures of that old world teaching contribute to students’ struggles in studio art courses, particularly due to a less-structured learning environment. The majority of educational experiences often put the highest emphasis on being right and wrong, or there being only one correct answer, solution, or process. In studio art classes, the familiar structure of success and achievement doesn’t necessarily transfer, and students shut down or restrict their potential, engagement, exploration, and growth in fear of failure. In high school, students place particular importance on simply passing to earn credits required to graduate, as well as earning the highest possible grades to boost their grade point average (GPA) for post-secondary goals. Students’ natural curiosities and interests are stifled by the institutionalized educational mindset; they are trained to be overly-dependent on receiving instruction based on what can be prescribed as right and wrong. Standardized testing further emphasizes the seriousness and heaviness of academic performance. There are stigmas and negative associations with being wrong and failing all throughout a student’s educational process. Students in studio art courses often have trouble thinking and acting on their own accords or curiosities because that often involves taking personal and academic risks. Students retreat to their comfort zones, distancing themselves from the content, trying to do exactly as is assigned, and performing how they believe will reward them with the best (or easiest) grade.

Key Terms and Definitions

Gamification: the application of “the most motivational techniques of games to non-game settings, like classrooms” and includes “elements of game theory, design thinking, and informational literacy” (Matera, 2015, pp. 8-9).

Student Engagement: the active participation in embracing problems of relevance within the art world and/or creatively or artistically pursuing areas of personal importance (Hetland et al., 2007).

Art Community: learning to interact as an artist with other artists, which may be in classrooms, in local arts organizations, across the art field, as well as within the broader society; the ability to make connections with artists, art history, artworks, processes, etc. (Hetland et al., 2007).

Exploration: learning how to explore playfully without prior experience or preconceived plans; taking creative and personal risks that are not guaranteed to bring success (Hetland et al., 2007).

Growth: learning to reach and stretch beyond one’s capacities; pushing personal limits and embracing opportunities to learn from mistakes (Hetland et al., 2007).

Purpose of Study

Key Question:
How might classroom gamification strategies positively impact students’ mindsets on engagement, sense of community, and willingness to challenge themselves and their artworks to grow to new levels and explore beyond course requirements and assignment expectations?

Sub-Questions:
i. What are effective intrinsic and extrinsic motivators for high school studio art students?
ii. Can an element of playfulness, such as a game, positively impact a student’s classroom learning experiences and outcomes?
iii. What might the gamification in a high school ceramics studio look like, in terms of practicality and effectiveness?

“Although gamification is popular, the effectiveness of various gamification elements have not be sufficiently tested,” therefore any additional studies in this particular area would help contribute to a more rounded evaluation of the methodology (Hanus & Fox, 2014). Student engagement, sense of artistic community, motivation, exploration, and growth are key mindsets, behaviors, and attitudes that this particular study will explore through the process of gamification. Gamification is the application of “the most motivational techniques of games to non-game settings, like classrooms” and includes “elements of game theory, design thinking, and informational literacy” (Matera, 2015, pp. 8-9). Gamification embraces the “organic nature of learning” and the “power of play brings back the natural yearning that exists inside all of us to learn” (Matera, 2015, p. 29). According to Hsaio-Cheng Han, a “good game connects the players’ previous experiences and establishes newer experiences in a game while playing. With these new experiences, players are able to advance themselves and pursue high achievement” (2015, p. 259). With the application of game-like elements into classroom settings, students may engage in more playful game attitudes and behaviors that help relieve the educational institutional pressures of simply being right or wrong. Jane McGonigal (2010) believes that games bring out the best part of ourselves, the part of use that is “most likely to help at a moment’s notice, the most likely to stick with a problem as long as it takes, to get up after failure and try again. And in real life, when we face failure, we feel anxious, maybe depressed, frustrated, or cynical. We never have those feelings when we’re playing games” (03:46-04:15). These are many of the effects that this study will explore within the context of a studio art classroom. Various gamification strategies will be incorporated into current course curricula in order to see if such strategies can impact student artistic experiences and performance. The teacher-researcher will document and record observations regarding the impacts of different gamification strategies by analyzing student responses, artworks, involvement in the arts communities, student engagement, growth, and exploration.

Preliminary Literature Review

Appendix D is an annotated literature review relevant to the study. The literature review breaks down the categories used to help pull resources. The literature search included topics such as: game mechanics, the use of gamification (outside and within classrooms), game design, student engagement, studio habits of the mind, art curriculum standards, gamification studies, studio art settings. The literature search collected resources from: books, articles, games, studies, journals, blogs, video files, websites. Refer to Appendix E for current bibliography regarding literature and materials collected for the study.

Foreshadowed Problems

The following is a list of foreshadowed problems:

1. Courses are second-level art classes; students enrolled could be naturally more art-interested students who might not need gamification to enhance their learning experiences.
2. Students might not volunteer to participate in an extra activity that doesn’t relate to course requirements or course grades.
3. Students could volunteer and then drop out of the game due to lack of or waning interest.
4. Students who volunteer to play could be the students who don’t need gamification elements to engage them or motivate them to try new things.
5. Students who struggle the most with engaging and benefiting from art experiences don’t participate in the game so the target audiences are neglected in study.
6. Logistical elements of classroom gamification (design, organization, storage, tracking, development, etc.) require substantial extra time and work on both teacher and students.
7. Students trying new things and engaging in the arts are only doing so for reward redemptions; intrinsic vs. extrinsic motivations.
8. Maintaining student interest and enthusiasm throughout the semester.
9. Striking a balance between personal ambition/competition and classmate ambition/competition; keeping the game fun and collaborative enough to create a sense of community, yet individualized enough for personal pursuits.
10. Striking a balance in the classroom “point” economy; frequency and availability for students to actually earn/lose points in relation to other game elements.
11. Game becomes too complicated, overwhelming, and/or not intuitive enough to sustain play.
12. Quantifying learning experiences into badges, levels, etc. could restrict student learning or direct student learning to only those things available.
13. Some of the most important “achievements” are difficult to quantify; the accountability aspect of what is earned and at what point it is earned (i.e., perseverance, leadership, work ethic, effort, innovation, etc.).
14. Small sample sizes may limit the amount of reliable data.
15. Limited length of study (one semester) for preliminary gamification integration will not provide long-term effects or effects of game after modifications.

The problems listed above are key issues that intend to be addressed throughout the process of the study. These problems will be a part of my observation and analysis, and will be included and discussed as findings following the conclusion of the study. Refer to Appendix F for Sample Field Notes and Observations regarding problems and challenges related to study.

Significance of Proposed Study

“Results from the few empirical studies on various elements of gamification conducted in educational settings are mixed,” so researchers trying to gather information on the topic have limited resources and applications from which to investigate and analyze, especially in regards to high school studio art settings (Hanus & Fox, 2014, p. 152). The purpose of this study is to help contribute in determining whether gamification elements in a studio art classroom can potentially contribute to a positive impact on student engagement, artistic community, growth, and exploration. Positive, neutral, and negative aspects and results will be presented. Given research (Han, 2010) suggests that continued exploration of gamification strategies is worth pursuing in high school studio art settings, so this study will help expose studio art-specific challenges that should be addressed or redesigned in future design and development. This study will contribute a framework for a studio art gamification system that could be adapted, modified, and strengthened to better manufacture positive impacts on student artistic experiences and performances in high school art courses.

Design and Methodology: Suitability of Site or Social Network Selection

The site of the study will be at a suburban public high school in south-central Pennsylvania. It will take place in the ceramics studio during two Functional Pottery courses, one sculpture course, and three individual Independent Study Courses. The courses meet once per school day for an approximate time period of 45 minutes. The site matches the study focus of high school art students in an art studio classroom environment under typical public school scheduling.

Design and Methodology: Researcher’s Role

The researcher’s role will be a participant observer and action researcher, whose study roles also include:
– gamification resource collection and review
– adaptation and design of gamification strategies for studio art classroom application
– design and production of gamification artifacts and materials
– organization of gamification artifacts and materials
– introduction of gamification narrative and elements to students
– implementation of gamification strategies throughout course
– observation and documentation with field notes (including student behaviors, artwork examples, attitudes, engagement, growth, participation in art communities, experimentation, etc.)
– documentation and tracking of student achievements
– analysis and evaluation of gamification strategies
– gamification strategy modifications and adaptations
– re-implementation of re-designed strategies
– student feedback survey and survey analysis
– analysis and evaluation of gamification strategies at conclusion of study.

Design and Methodology: Purposeful Sampling Strategies

The subjects are students enrolled in my studio art ceramics courses under normal classroom procedures. They are all high school students ranging from grades 9 through 12. Subjects will not be identified in the research, and no personal information, identifying information, or private information will be part of the study. Subjects have voluntary participation in the gamification elements of the course and are free to leave or join on their own will; there are no connections between their participation or performance in the game and their course grade. See Appendix A for Institutional Review Board Exemption Form and Appendix B for Principal Letter of Approval for Study.

Design and Methodology: Data Collection Strategies

The research will take place over a semester course (eighteen weeks), with a four-month focus. The courses meet during the week, once a day, for a period of approximately 45 minutes per day. Data will be primarily collected through field notes and written documentation of observations. Data may also include photographs of gamification artifacts, implementation, student artwork, and examples of student responses (no photographs of actual students). Classroom documents tracking student success and achievements in terms of badges and leveling up will also be used, as well as actual gamification documents and materials distributed to subjects or incorporated throughout the process. No identifying information will be used outside of typical classroom use for any of the data. Materials will be kept and managed by the researcher as tools for future gamification implementation improvements and modifications, but no personal or private information is part of the study. Refer to Appendix F for Sample Field Notes and Observations.

Design and Methodology: Inductive Data Analysis

Research data focusing on artistic community, engagement, growth, and exploration (as previously defined at the beginning of the proposal as well as within the literature review found in Appendix A) will be analyzed and coded according to the following categories:

CC = Classroom Challenges and/or Problems
CC (T) = Teacher’s Perspective
CC (S) = Student’s Perspective
GS = Gamification Strategies
GC = Gamification Challenges and/or Problems
GC(P) = Design, Planning, and Preparation
GC(I) = Implementation in Classroom
GA = Gamification Adaptations or Modifications
GA(P) = Design, Planning, and Preparation
GA(I) = Implementation in Classroom
R = Responses (Students)
R+ = Positive Student Response
R0 = Neutral Student Response
R- = Negative Student Response

Using the above categories and coding systems, the data will be analyzed to help determine if there are any patterns or combinations that develop in regards to leading to positive, neutral, or negative student responses to the gamification strategies in regards to artistic community, engagement, growth, and exploration. That data will be used to help evaluate the effectiveness of various strategies (both before and after any modifications) and identify areas of strength and weakness. It will also aid in helping determine if those strengths and weaknesses lie in the designing, planning, and preparation stages of gamification or within the actual classroom implementation. The results and patterns could also assist in identifying where any modifications or adaptations could be made to possibly improve future results. Refer to Appendix F for Sample Field Notes and Observations.

Design and Methodology: Limitations of the Design (Scope of Study, the Design, and Methodology)

The scope of study is limited because the focus is on students in my own studio art classrooms in a single location. It is a short-term study that takes place over four months, and the study itself is implementing gamification strategies for the first time, which provides limited time to make modifications and changes in design and implementation, and doesn’t have the time to test long-term effects from extended student participation. The students only have the course once a school day, for a time frame of approximately 45 minutes a day, which provides a limited time frame for implementation of the game alongside regular course curriculum work. The number of thirty-three student subjects is a limitation because of the small sample size that decreases the power of the results and the ability to detect any reliable and consistent effects. Due to the qualitative methodology of the study, the study is based mostly on observation and very little numerical data will be applied. While there are many examples of research on gamification and classroom gamification, there is notably more limited research on studio art settings, so the groundwork for design, preparation, and implementation in a studio art classroom hasn’t been explored or discussed as thoroughly.

References Used in the Proposal

Han, H.C. (2015). Gamified pedagogy: From gaming theory to creating a self-motivated learning environment in studio art. Studies in Art Education: A Journal of Issues and Research, 56 (3), 257-267.

Hanus, M.D., Fox, J. (2014). Effects of gamification in the classroom: A longitudinal study on intrinsic motivation, social comparison, satisfaction, effort, and academic performance. Computers & Education, 80 (2015), 152-161.

Hetland, L., Winner, E., Veenema, S., & Sheridan, K. M. (2007). Studio thinking: The real benefits of studio art education. Teachers College Press.

Matera, M. (2015). Explore like a pirate: Engage, enrich, and elevate your learners with gamification and game-inspired course design. San Diego, CA: Dave Burgess Consulting.

McGonigal, J. (2010, February). Jane McGonigal: Gaming Can Make a Better World [Video file]. Retrieved from
https://www.ted.com/talks/jane_mcgonigal_gaming_can_make_a_better_world

Willms, J. D. (2003). Student engagement at school. A sense of belonging and participation. Paris: Organisation for Economic Co-operation and Development.

Appendices

A. IRB Exemption Form
B. Principal Letter of Approval for Study
C. Brainstorming and Exploration of Research Problem
D. Literature Review
E. Bibliography
F. Sample Field Notes and Observations

[1] See Appendix A for IRB Exemption Form for Study and Appendix B for Principal Letter of Approval for Study.

[2] See Appendix C for Brainstorming and Exploration of Research Problem.

*Apologizing for formatting…the images keep screwing up with the text after posting 🙁

The data I focused on collecting dealt with classroom gamification because I am trying to develop game mechanics in a high school art studio to help increase student sense of community, motivation, engagement, and exploration/risk taking. I documented artifacts, observation notes, re-reading notes, in-progress elements, and student responses/artworks from my first round of implementation, which is naturally full of downfalls and mistakes and “I can and need to do this better next time!” moments. I have tried to gradually implement basic gamification elements into my classroom to test the waters, see if there is any potential promise behind the methodology, and identify areas for modifications and potential addition/layering of other game mechanics. I wanted to have some mechanics established before diving in deeper, and the current trial run has given me a lot to consider. My research had warned that gamification takes a lot of time, thought, planning, and years of modifications to evolve into the most effective system in your particular classroom, curriculum, and standards…so I knew going into this that it would be a long process that won’t have immediate results or answers in this limited time frame. However, I am grateful that my students have played along with the gamification elements I have enacted thus far and that observing their responses has provided insight to future potential and opportunities to build off of my current system. In addition, I used the past couple weeks to begin re-reading a few of my original gamification resources to take a second round of post-implementation notes. I am finding this second round of reading (after my beginner’s gamification experiences) much more meaningful. Re-reading has provided opportunities for personal-experience reflection that were not present the first rounds of reading. I can see how different aspects of things have played out in my own classroom thus far, and can better visualize how I can adapt or modify current pieces then design other elements and layers to strengthen the end results I hope to achieve most.
I realized a few weeks into my gamification exploration that my original sketchbook/jou

rnal 

for classroom notes just was not going to have enough space for everything I needed. I also realized I’d come up with ideas when I was away from my journal at my desk, and then would forget my ideas by the time I got a chance to return to my desk (or I’d think of something outside of school…not by my book…)…so I found a small pocket sketchbook that I can easily slide into an apron, purse, or sweater pocket and keep with me throughout the day and evening, and pull out as needed. I did maintain my original system with categories and varied inks since that system still appeals to me, and my pockets and lanyards carry all my colored pens. My field notes, observation, and thoughts are recorded throughout that book. I am constantly going back to it and recording new observations, notes, ideas, and comments, as well as new categories to start. It’s an ongoing process that kind of haunts; when I think I have thought of everything, I suddenly notice or realize something else, or come up with a new question or problem. I included photos of a few pages from that sketchbook (which, naturally, had many more things added to it even moments after taking the photos, haha).
Some of the artifacts I worked on documenting were: gamification currency, badges (wall), redemption station/shop, studio fines and violation slips, studio fines and violations jar, studio battle badges and medal of honors, studio chance cards, “ceramics passport.” I think these are important because they are the beginning tools for the game mechanics that I chose to start implementing before layering any other elements. I consider everything to be in prototype stage until I get enough feedback from my student to take things further and perfect designs (or upgrade to higher quality), or choose to go in an entirely different direction.
    A few parts of the gamification process I documented include: student “wallets” 

with badges and currency, passport submission

s for leveling up, studio fines and violations bins, color wheel “dart board” creative incorporation board, studio battle artwork submissions, 

student “files” for badges and payment, shelf rental and use.    Th

e game process requires a lot more problem-solving, planning, organization, and tweaking…I have noticed deficiencies along the way as well as areas of opportunity for improvement and/or additional game mechanics. The gamification process requi
I documented student responses by photographing artwork that was created in order to earn a badge with a technique or information I did not specifically teach, taking notes, and photographing examples that show student responses (a student earning a difficult badge and taping it on the front of his shelf for everyone to see what he accomplished).
One area of discussion I chose to address is how to acknowledge ceramics achievements prior to their current class…going forward, I need to consider how I can keep student “passports” and have their achievements built upon through different courses, because these are ongoing achievements that build over time, and the importance of following through, persisting, and mastering techniques and concepts over longer periods of dedicated time and effort will be more visible and relevant. I hadn’t fully considered the concept of the game becoming temporarily dormant after a student left class…how it could be reactivated and continued in a later course…or even if students might be able to “continue playing” even between courses. I believe there is real value in the potential to include any long-term progression and growth where possible!
Another discussion point that seems to have surfaced over the past few weeks also focuses on recognition, though more short-term. I originally avoided the idea of a leaderboard or display of progress/achievements because I wanted to limit any and all intimidation factors (and also didn’t feel like I had a system where I could handle a leaderboard or organize one). Later, I realized that some students really want to show off some of the achievements they are most proud of when some of them started ta

ping those particular badges to their shelves as a display, rather than store them in their “wallets.” I also noticed these were often students who don’t often get much recognition for achievement in school overall…and I think that’s something that needs addressed in my current system. I considered having students tape badges to their shelves originally, but I was afraid the tape would unstick and badges would fall and get lost (the shelves have holes/slits through them, so loose papers travel down shelves). Since I record distributed badges on a spreadsheet, a lost badge could always be replaced or returned…so it wouldn’t hurt for students to tape badges to their shelves. Sometimes I overthink how hard it might be to balance not making things seem too competitive or intimidating for struggling students while maintaining a positive and friendly competition for students to show off and be recognized for their strengths…maybe public individual badge display would be a good compromise to not having an ongoing, displayed and quantified leaderboard.
Exercises and Discussion:
#1 Minimum Surface Contact – I tried the minimum surface contact exercise because it mentioned, “In his daily life, he spends his time seated, or lying down, or standing, and thus he is accustomed to dealing with gravity in these positions – but there are a thousand other ways of counteracting this force.  Our ordinary, daily movements eventually mechanise our bodies – this exercise is about de-mechanising, de-structuring, dismantling.” Those lines caught my attention because the structure of our schools is very systematic; we are trained to do things “the right way” and meeting specified expectations…yet we need students to think for themselves, explore, and discover new ways of doing things. It also sounded like a fun, simple task at face value. However, following through with what I thought would be easy proved more difficult. I could think of combinations in my head, but getting them to work and my body to balance like I imagined wasn’t working all the time. Things I imagined turned out to be not-so-possible after all Also, I have very social pets that interfered with movements, distracted me, and knocked me off-balance from time to time. Afterwards, I considered how the initial appeal of something might wear off through practice. Students complain about the structure and rigidness of their classes and request for more freedom and breaking away from the conventional methods…however, the allure of that freedom might fade when the reality of the new challenges they must face and adapt to starts to shine through. When you start to struggle, you instinctively start to want retreating back to the old and familiar ways…back to the structure and security. Or, when outside challenges (i.e. my pets…but could be struggles in the classroom) make things even worse, you may want to give up altogether because you feel it isn’t possible under these conditions. However, it’s only by pushing through, dismantling those safe and secure positions, and adapting to the outside conditions that that you can grow and achieve new positions.
#2 In Pairs, One Partner Kneels – I chose this exercise because another focus in my classroom is on the art community, which not only includes the global art community, but the community of students within the classroom. In gamification, students need to learn to depend on and trust each other to help achieve things together. I was the blind sitter and stepper in the first round…and again, pets complicated my steps, which resulted in me not returning to my original starting point when I tried to kneel. I wasn’t overly concerned in the first place. First off, I trusted my partner to stop me from crashing to the floor if I wasn’t in the correct spot, and two, I was confident that I could stop myself and “sit” mid-air without falling if I sat where the knee wasn’t. I was able to find the knee to sit back on after two misplaced sittings. When we reversed, my partner had zero problems. However, if I didn’t know my partner…I might have been a bit more worried. I know gamification does require more teamwork than other class models might require, and I do know that some students are not comfortable trusting classmates as people or as quality contributors to a shared task. I also know there are students who just depend fully on everyone else to carry them without personally contributing. The whole issue of teamwork and mutual trust and respect among classmates and teammates is something I have to be attentive to fostering properly throughout my process.
#3 The Plain Mirror – I chose this exercise just because it reminded me of how often students seem to mirror what other students do in class…they see something that someone is doing or has already done, and they try to do the same. Sometimes it’s because they are actually inspired, and sometimes it’s because they feel it’s easy and safe because someone else has already done it, so they’re not the one’s taking as much of a risk. Sometimes it’s blatant plagiarism because it’s easier to copy than come up with something on their own 😉 Doing the exercise, it made me hyper-aware of my own actions leading someone…and part of me worried if my partner would think some of the motions or expressions I did were dumb, so I did have a few anxious moments where I was mentally debating what I wanted my next move to be, because I had someone’s full attention and all the pressure was one me. When I was the “image,” I struggled even more because for some reason, I kept having trouble moving the same hand or eye or fingers…I’d use the left instead of right, or vice versa. Messing up once made me even more self-conscious and worried that it’d happen again (and it did…). Even though I wasn’t the one pressured to make the decisions, I found it way more stressful to follow. Again, those feelings reminded me about how students are afraid of failure, anxious about making mistakes. They’re afraid to try new things because they feel like all eyes are on them, waiting to see their next move, and ready to be evaluated or judged by the success or failure of their actions. Even if they wait and try to follow someone else’s lead, there’s a new pressure of performing to and meeting someone else’s standards. If I look at this all through a teacher-student lens, students probably perceive the teacher as the subject and themselves as the reflection…overall, students are trained that teachers are the leaders and students should be the reflection of their teaching, almost like puppets. However, that helps foster anxieties and one-dimensional thought.

…in retrospect, I should’ve posted this blog entry in segments as I finished it, rather than group it all as one…because the amount of work for each section resulted in an awfully long single entry…I’m sorry…

STORY CONSTELLATION ANALYSIS: Mary Elizabeth Meier’s Narrative Views of Experience: Art Teachers Documenting Teaching Practice in Collaborative Inquiry-Based Professional Learning
LAYER 1: Code to Disassemble and Reassemble

Key Codes Generated
🅀 = Question and/or Uncertainty
– Theoretical Question – Concrete Question
– Question/Uncertainty Implied through Expression
C/L = Challenge and/or Limitation
– Student Challenge/Limitation
– Teacher Challenge/Limitation (Personal)
– Environmental/Situational Challenge/Limitation
Ⓢ = Solution and/or Suggestion
– Solution Actually Developed in Response to Question/Challenge
– Potential Solution to Specific Question/Challenge
– Generalized Suggestion
R = Reflection and/or Documentation
– Student Reflection – Student Documentation
– Teacher Reflection – Teacher Documentation

LAYER 2: Inquiry Prose

I generated my key codes after several readings and layers of highlighting text that stood out to me the most. From those areas, I identified the most recurring categories and established a starting list of about nine notable “code-able” categories that caught my eye most. I then went back into the reading to dig a bit deeper and find any instances that I did not originally highlight that needed to be included…I found that the things I gravitated towards most could be umbrella’d under the four resulting key codes listed above. In the margins I labeled them using different letters, shapes, and colors. Some areas overlapped, and those areas were indicated with double arrows, double underlines, and and double-codes.
I chose “Questions and/or Uncertainty” because their participation and development depended a lot on the questions they had and the questions they answered. I noticed a lot of consistent and deliberate questions being asked, as well as a few implications of questions. Naturally, as the facilitator, Mary Elizabeth had many questions to help guide the others, but others also participated. Some things were presented as statements or questions of others but given voices by the participants, but still presented a generalized question or feeling of uncertainty. Many overlapped with moments of reflection, as well. Some of the more “sticking” ones for me were:
Mary Elizabeth: Okay, so can you think of a specific time when you felt like you learned something that was useful to you or that sparked your thinking about something? (6).
Mary Elizabeth: Yeah. Any other uncertain moments you would be willing to describe? (7).
April: How are we going to pull all of this off together? …How do I relate this to the majority of the group as a different discipline – teaching art, whereas I teach music? And how do I relate to Abigail who is a music teacher but teaches a completely different level? (7).
Mary Elizabeth: …Are you visualizing anything differently, or are you seeing what your future goals might be? (8).
April: …Let’s keep rolling into next year and see what else we have, where else can we go with this? (8).
Rachel: …You get to figure out your own professional development? You get to decide what you want to learn? (9).
Rachel: …How am I going to teach them stuff, techniques and skills, and let them inquire and experience? (12).
Mary Elizabeth: …How are you thinking about your role in that lesson planning process? (12).
Kay: …What is your big idea? …How did you get that idea? (15).

For the next category, I chose “Challenges and/or Limitations,” because many so much of the learning process required them to identify challenges and/or limitations before they could figure out how to face them, solve them, or adapt to them. For me, identifying and understanding your challenges and/or limitations are very important in the problem-solving process. You can’t jump to an answer or a solution without thoroughly exploring problems you may encounter. Some challenges and/or limitations were shared and more universal (in the teacher and student worlds), while some were more situational. Some referred to prior challenges and/or limitations, some were current, and some were potential ones for the future. A few examples of “Challenges and/or Limitations” that I identified included:

Jason: …All the post-undergraduate classes I have done have been with the broad spectrum of educators. (6)
Jason: …I am the only art teacher in the entire school. I am one of two art teachers in the district. We are kind of like this island of – Oh my God I just wanna…Then they say, “Go meet with your departments.” I am my department. (6).
Emma: You feel like a lonely island. They are talking about RTI, reading anchors. Nothing applies to you. (6).
Emma: …I would feel a wave of stress sometimes…scared of technology at first. (7).
Emma: …I never knew what classroom I would be in that day, or where they would move us, or how they would change our class, or what materials would be available. (7).
Abigail: Next year I will be even more uncertain because I am changing grade levels. (8)
Rachel: That has been one of my challenges…I reflect in the shower, I reflect in the car. That is my reflection time and I don’t get to document that – I don’t get to write it down. (8).
Rachel: We are figuring out how to do that…I don’t feel like I am 100% successful. (9).
Abigail: Sometimes I find that teachers are some of the people who avoid learning the most! If I go to talk about ideas like this after school, I might get accused of talking shop! (9).
Rachel: …He said, “Do I have to buy all of that stuff?” (11).
Rachel: …the one thing I did require was…the use of non-traditional media. (11).
Rachel: Their creativity!…I feel that for high school kids that seems like it’s hard. It was harder for me to get to that place with them than it was with the littler ones. (12).
Rachel: I didn’t want to name any specific thing…I didn’t want to give them any ideas. (13).
Rachel: …I do want to show you my rubric because evaluation is hard…I feel like I am questioning myself about that. (13).
Kay: Yes, I have 7 classes to prep for at this school. I also teach at two other schools. (15).
Kay: I wish I had enough tables in my room that I could set up different work areas…I have limited centers using things I can set out and quickly put away. (17).

Naturally, “Solution and/or Suggestion” was the next category I chose to code. I found it interesting how various people were able to present their own solutions, offer solutions to others, provide potential solutions to hypotheticals, or refer to student solutions to classroom challenges. There’s rarely just one single solution to any problem, so it’s nice to see how that problem-solving unfolds through conversations and reflection. Often, they were found sometime after a challenge or limitation was presented, but sometimes, they were presented proactively, as a way to avoid or prevent a possible challenge or limitation.
Mary Elizabeth: Maybe we should set up a group Skype during the end of the year in-service days! (6).
Emma: I morphed my approach into less practice with teaching and setting up centers and letting the kids get there on their own, but more letting them get there on their own about their opinions. (7)
Rachel: …I don’t get to write it down. I think I will have more time as a high school art teacher with a slower pace during the day that what I’m used to now. (8).
Rachel: So instead of having this piece that they work so hard on that they don’t want to do anything to it that might destroy it, it seems like it gave them more ability and confidence to explore. They are really comfortable using the doc cam. (12).
Rachel: …I didn’t make an example…which I had always done before. (12).
Kay: …having centers in my room and letting the student direct there [sic] own work, I have found they are much more likely to bring their other experiences with them – what they are interested in, and create responses to that…they feel like they can plan ahead in the making of their own work. I am not telling them what to do. (15).
Kay: I scrounged this fabulous cart from the supply room…now I have this big sign with the word “Collage” followed by general directions on this cart-turned-collage-center. (16).
Kay: …over here where you can’t see are two buckets….this is to avoid water pressure in the sink…they can just scoop it up and go…they can put their palettes and dump their dirty water. So I wash the palettes later because they only have 45 minutes. (16).
Kay: So I have limited centers using things I can set out and quickly put away…I have been collecting boxes that the copier paper comes in. They have lids. I am going to make some centers in those boxes. They will be ephemeral centers that come and go. (17).
Jason: I’m thinking wikis are the perfect thing to write into the S.T.E.A.M. grant I am working on. I am trying to get laptops, each kid would be able to have their own wiki, a daily blog of what they are working on! (17-18)

The final coding category was “Reflection and/or Documentation.” I found this permeating throughout all the other categories. Often it was reflection that led to further questions, as well as reflection that led to answers or suggestions or discovery of possibilities. Sometimes, it was simply recalling and considering what had been done in the past and the feelings, self-actualization, results, etc. that were involved. As topics were explored, mental and personal reflection were explored as well as physical tracking and documentation (photos, blogs, videos, websites, student work…).
Jason: It is just listening to, for example, what Kay is doing in her classroom, or…Rachel. I guess you could say…stealing some ideas. (6).
April: I remember not knowing where I was going. I remember sitting here during our January meeting and thinking – How are we going to pull all of this together? I am a big picture person. (7).
Rachel: I think I will definitely have more time for things like reflection. That has been one of my challenges, I wrote about this on my blog this morning. I reflect in the shower, I reflect in the car. That is my reflection time and I don’t get to document that – I don’t get to write it down. I think I will have more time as a high school art teacher with a slower pace during the day that what I am used to now. (8).
Rachel: It was a funny thing for me – driving here today and thinking…I was thinking about what it was like to be here seven times ago, then six times ago, and everything in between. It just feel…I feel like my brain has evolved. (9)
Rachel: Now this student had something very important to say about this in her spark journal…she had the most interesting thing to say about her self-portraits in general in her written reflection. She wrote, “When I looked in the mirror, I drew exactly what I saw and I came out looking really sad in my drawing. I realized that the face I show to the world is very sad. But I’m not really sad…I think you should do this self-portrait project every year because it helped me learn about myself and the face I am presenting to the world.” (12).
Rachel: The last category is the reflection part that they have to do. I require that and it is part of their grade. (13).
Kay: One of the things I have noticed happening in my classroom since I have these centers set up and students have access to the materials, is they have been collaborating with each other – spontaneously working together. (14).
Kay scrolls to next blog entry and then clicks on a video link. (15).

I felt that these four categories (Questions/Uncertainties, Challenges/Limitations, Solutions/Suggestions, Reflection/Documentation) were the key coding elements that directed the dialogue and discussion throughout the data as the facilitator and participants negotiated their way around shifting their views and thoughts around teaching and learning, and documentation of their professional learning. I found that these codes not often repeated in very similar patterns, there were many instances where codes overlapped. Sometimes confusion or uncertainty was regarding documentation. Sometimes, the solutions to a problem could also be seen as a layered challenge or limitation (i.e. The solution of utilizing technology to better document teaching practices ran into technical glitches, so back up images needed to be used as a solution to the glitch. The solution of using water buckets and teacher material-washing to maximize student work time solved the student time and water pressure problems, but created a new issue with additional teacher responsibilities that cut into reflection and documentation time). Many of my codes seemed to combat with each other for the “coding” title, and in the end, I ended up coding it with the one I felt was better expressed in the context of the data. The transcripts of the meetings often referred back to the primary research questions, both in conversation and in recorded actions (physically providing documentation on their computers, blogs, photos, videos, websites, etc.). The documentation was the background to the conversations and discussions about how their mindsets were shifting as they reflected on teaching and learning (from both the teacher perspective and the student perspective).

LAYER 3: Reflexivity and Encompassing Metaphors

Throughout this process, I found myself constantly drawn to Rachel’s student’s reflection. It left the most memorable impact on my initial reading, and that impact only strengthened with deeper read-throughs because I felt that it best encapsulated this entire process (mine, as well as those included in this data narrative).

Rachel: She wrote, “When I looked in the mirror, I drew exactly what I saw and I came out looking really sad in my drawing. I realized that the face I show to the world is sad. But I’m not really sad.” She wrote to me, “I think you should do this self-portrait project every year because it helped me learn about myself and the face I am presenting to the world.” She did always have a sad expression in the beginning of the semester and now she doesn’t. She wrote that and I thought that was really powerful. (12).

I feel like that this student forms the ideal metaphor for this entire process. While the student was reflecting and documenting her artistic process, engaging in a written and reflective dialogue with herself and her teacher, there were undeniable shifts in the way that student perceived not only herself, but the values of art as a teaching and a learning tool. By observing and documenting herself through a non-objective lens with the means of documenting the reality of what she was seeing, the student captured herself in a way she had never considered seeing herself. She thought about how she would interpret her own expression, and how others must perceive her based of it that. In order to state that she was not really sad, she inevitably entered moments of deep reflection wondering if there was some truth to what she saw in herself before she could come to the conclusion that it was not accurate or true. She recognized a disconnect, and based off of Rachel’s testimony, the student adjusted her self-projection to more accurately reflect who she was on the inside, by no longer exhibiting that sad expression. The student also recognized the potential behind self-portraits and how they can play an important role in shifting how one thinks about themselves and/or others. The process of documenting her own face through a self-portrait ended up leading to a documentation of the reflection process, which became a document that facilitated her own personal learning and mindset shift.
LAYER #4: Seeing Patterns as Major Themes

Teachers are students, and students are teachers. They depend on each other for their intended roles as well as their unexpected role reversals. A person looking into a mirror is seeing themselves, yet the reversal of themselves. When a teacher is looking at students, with the intent to document material to facilitate professional learning as a teacher…they assume a dual-identify with the reversal of themselves, because now they are not only a teacher looking at the student as a source of new observations, new material to be processed, understood, and applied…they are a student looking at subject with the potential to teach them. What they discover can shift their thinking about teaching and learning. Students can document their art-making process and their personal reflections to make significant personal breakthroughs and understandings about themselves (and other things) on which they can now choose to act upon, or not. Teachers can observe, document, and reflect upon their teaching processes as students do with their art, and just like students, they also have the choice to act upon what they have just learned, or not. Action research is that girl drawing her self-portrait, looking carefully and closely at her face to capture it best she could. Action research is that girl staring into the eyes of her self-portrait, and noticing something she hadn’t noticed or put together before, and identifying the problem. Action research is that girl, recognizing that a sad exterior face could indicate deeper inner problems worthy of self-reflection and analysis…sorting through the data and facts in front of her and within her, exploring other perspectives, to come to the conclusion that her self-portrait’s expression wasn’t a fair or true representation of herself. Action research is that student, developing a solution to the identified problem by modifying her behavior and expressing herself as she was. Action research is that girl, recognizing the teaching and learning power and potential of observation and personal investigative processes, and encouraging her teacher to continue that project because she understands and advocates for the benefits of its process.
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PART TWO: PERSONAL LAYERED ANALYSIS

Revised Problem Statement 3/13/18: Many high school students seem to have superficial experiences in studio art courses. There are students missing out on powerful and meaningful art experiences due not only to lack of personal engagement and motivation, but also to reluctance to push themselves and try new things. Gamified approaches may be able to help strengthen student engagement as well as ease the school-structured intimidations of student grade and performance pressures by incorporating a level of playfulness. It may be possible that gamification strategies, supported with both the New National Core Arts Standards and the Eight Studio Habits of Mind, could be applied in ways that could help increase high school students’ engagement in their artworks and the art community, as well as increase their willingness to stretch outside of their comfort zones to more playfully explore and experiment in the art studio. Student artworks, engagement, responses, explorations, achievements, and progress will be closely observed and documented. Those observations will then be used to help evaluate how classroom gamification strategies could positively impact student engagement and student willingness to push themselves and their artworks to grow to new levels and explore things beyond course requirements and assignment expectations.

LAYER 1: Code to Disassemble and Reassemble
Key Codes Generated
C = Challenges and/or Problems
TC = Teacher/Classroom Challenges and/or Problems
SC = Student Challenges and/or Problem
GS = Gamification Strategies
C/P = Gamification Challenges and/or Problems
C/P (P) = Planning and Preparation
C/P (I) = Classroom Implementation
C/A = Gamification Changes and Adaptations
C/A (P) = Planning and Preparation
C/A (I) = Classroom Implementation

R = Student Responses
R+ = Positive Student Response
R- = Negative Student Response
R\ = Neutral Student Response

LAYER 2: Inquiry Prose
I am coding a variety of data sources, including document revision histories, journal/observation notes, process planning sheets, teacher inventory/budget sheets, social media tracking, student feedback, student works, a variety of gamification artifacts, and student gamification tracking sheets. I was able to break things down into five key codes: Challenges and/or Problems (split between Teacher/Classroom and Student), Gamification Strategies, Gamification Challenges and/or Problems (split between Planning and Preparation or Classroom Implementation), Gamification Changes and Adaptations (split between Planning and Preparation or Classroom Implementation), and Student Responses (split between Positive, Negative, and Neutral).
  Challenges and/or Problems was selected because throughout the whole process, there is a recurring focus on particular challenges or problems. The code has subcategories specifying Teacher/Classroom and Student. While other perspectives could be taken, in this case, they’re both through the teacher’s perspective (but naturally taking into consideration student perspectives). Teacher/Classroom Challenges and/or Problems refers primarily to general classroom management and control of materials, presentation of lessons, teacher mindset/attitudes, etc. Student Challenges and/or Problems refer to particular student behaviors, mindsets, and attitudes that need to be addressed. I decided to lump the some of the Changes and Adaptations codes along with the identified problems to help make more sense of things when there was a specific change or adaptation related to it. Here are examples pulled from the sources:
CT = Limited availability of more expensive tools and materials; able to purchase limited quantities but not enough for equal access for all students (Inventory/Budget Sheets)
C/A = Link limited quantity materials to a rewards system and shop (Gamification Redemption Station)
CT = Teacher and class sometimes come across as “too serious;” needs more “fun” (Student Feedback)
C/A = Pull in more games and playful elements with classroom gamification (All)
CT = Evaluating art with grades; difficult to translate some things students do to a grading system; recognize students for non-graded things (Journal/Observation Notes)
C/A = Provide badges and leveling up to help recognize student experiences, achievements, and progress that doesn’t necessarily translate into grading system (Gamification Badges; Gamification Ceramics Passport)
CT = Developing a balanced classroom economy with “dollars,” rewards, penalties, purchases (Gamification Classroom Economy Sheet, Gamification Redemption Station, Gamification Bonus Amounts)

SC = Lack of engagement; not personally invested in processes or artwork; limited pride and personal relevance (Journal/Observation Notes)
SC = Lack of engagement; limited to zero connections to art communities (Journal/Observation Notes)
SC = Fear or unwillingness to take risks or take on challenges where easy success is not guaranteed; stick within comfort zones (Journal/Observation Notes)
SC = Groomed through education system to believe in “right” or “wrong” answers; grade-oriented vs. product/process/growth (Journal/Observation Notes)
SC = Frustration with lack of immediate success; struggles to see growth or progress (Journal/Observation Notes)
C/A = Provide badges and leveling up to help recognize student experiences, achievements, and progress (Gamification Badges; Gamification Ceramics Passport)

  Gamification Strategies was the next code, because throughout my data sources there were lots of notes and artifacts of gamification strategies being considered and/or implemented in the classroom. These strategies include:
GS = “Badges:” Achievements to record experiencing a variety of things; Organized into Studio Habits of Mind (Journal/Observation Notes; Gamification Badge Documents; Gamification Student Badge Tracking Document)
GS = “Level Up:” Achievements to record growth and progress in a variety of things (Journal/Observation Notes; Gamification Ceramics Passport Document)
GS = “Dollars:” Currency and classroom economy linked to game (Journal/Observation Notes; Gamification Currency Document; Gamification Classroom Economy Document)
GS = “Rewards:” Classroom shop with limited-quantity supplies, higher quality materials, clay varieties, etc. for students to purchase for their artwork creation processes (Journal/Observation Notes; Gamification Redemption Station Document; Gamification Classroom Economy Document)
GS = “Narrative:” Storyline for game (Journal/Observation Notes; Gamification Instructions and Rules Document)
GS = “Penalties:” Studio Violations and Fines (Journal/Observation Notes; Gamification Violation and Fine Ticket Document; Studio Violations and Fines Bin)
GS = “Studio Chance Cards:” Modeled after studio life scenarios; opportunities to gain/lose dollars (Journal/Observation Notes; Gamification Studio Chance Cards Document)
GS = “Studio Battles/Challenges:” Spontaneous challenges within classes and between classes to “battle” for points earned beyond experience. (Journal/Observation Notes; Gamification Studio Battle Documents)

Gamification Challenges and/or Problems became the next key code. Much of my data noted problems or challenges that needed to be addressed in terms of planning/preparation as well as classroom implementation, which were the sub-codes branched below. I decided to lump the next codes (Changes and Adaptations) along with the identified problems to help make more sense of things. A few examples of Gamification Challenges and/or Problems that I identified are:
C/P (P) = Developing a solid narrative (Journal/Observation Notes; Gamification Instructions and Rules Document – Revisions)
C/A = Possibly tie to real-life studio (Journal/Observation Notes; Gamification Instructions and Rules Document – Revisions)
C/P (P) = Developing a clear way to “win” the game (Journal/Observation Notes; Gamification Instructions and Rules Document – Revisions)
C/P (P) = Technical issues: printing properly, cutting, laminating, protecting (Journal/Observation Notes; Multiple Gamification Documents)
C/A = Record notes regarding specific printing quirks within documents (Document Revisions)
C/P (P) = Enticing the students with the lowest levels of engagement, challenge, motivation, exploration, interest, etc. to join without forcing them into it and hoping they get more involved along the way (Gamification Student Tracking Document)
C/A (P) = Organization (Multiple Gamification Document and Filing – Revisions; Gamification Artifact Revisions)
C/A = Physical and digital filing Systems for badges, currency, student pouches, achievements (Gamification Artifacts)
C/A (P) = Designing game to apply to only those who volunteer; not requiring or forcing all students to participate (Gamification Student Tracking Sheet – Revisions)
C/A = Adapting game and curriculum to have simple overlap of gamification elements and non-gamification elements (Multiple Documents; Gamification Student Tracking Sheet)
C/P (P) = Having gamification strategies support new art standards
C/A = Design game framework, badges, etc. around key standards and phrases included in new national arts standards (Multiple Gamification Documents)
C/A = Design game badge categories and individual badges around developing each of the Eight Studio Habits of Mind (Gamification Badges; Multiple Gamification Documents)
C/P (P) = Time: requires a lot of time. (Multiple Gamification Documents)
C/P (P) = Materials/Costs: some parts require personal investment (Gamification Redemption Station)
C/A (I) = Presenting and explaining game (Gamification Instructions and Rules Document – Revisions).
C/A = Developing a basic framework and explaining as the game continues (Gamification Instructions and Rules Document – Revisions)
C/A (I) = Getting students to volunteer to play and buy into game (Gamification Student Tracking Sheet – Revisions)
C/A (I) = Keeping students participating in the game (Gamification Student Tracking Sheet – Revisions)
C/A (I) = Having students take ownership of their progress and advocate for their badges and “leveling up” (Gamification Student Tracking Sheet – Revisions; Gamification Artifacts)
C/A (I) = Having students aware of variety of categories, levels, and types of badges available
C/A = Shared ongoing “Available Badges” document in Google Classroom; Current badges magnetized and placed on wall to advertise options (Gamification Available Badges Document, Gamification Artifacts)

Finally, I ended with Student Responses: Positive, Negative, and Neutral. Student responses are constantly monitored and noted to help determine which direction the gamification strategies are leading, and in the end determine if gamification strategies can help shape student experiences in the art room. I feel like there are many examples of neutral responses for every positive, because not every student is actively pursuing as many badges or “levels up” as other students may be. I am also torn between the “Gamification Redemption Station” being both an intrinsic and extrinsic reward system, because while technically they are working to earn physical things or privileges, many of them are things that tie to their artistic interests and the artworks they wish to complete with their bonus access to special materials and supplies. Also, while there may not be any blatant negative responses, sometimes neutral responses can take a negative turn, and I am aware that there may be negative responses that I haven’t yet observed or anticipated. Here’s some evidence of the code so far:
R+  = Student voluntary participation; 27 out of the 33 students initially voluntarily agreed to join and participate in the game upon presentation. (Gamification Student Tracking Document)
R\  = Six of the thirty-three students decided to not join the game on the day it was introduced (Gamification Student Tracking Document)
R+  = Three of the six students who initially declined changed their minds and decided to join and participate in the game once the game was being played (Gamification Student Tracking Document)
R- = Two of the three students who declined to play are students who are lowest on the engagement, motivation, challenge, exploration spectrums; a game designed to attract these types of students failed to interest them enough to pull them in; game doesn’t involve every student (Gamification Student Tracking Document)
R+  = Students pointing out which badges they earned and asking when they get them; if they can “level up” yet (Journal/Observation Notes; Gamification Student Tracking Document)
R+  = Students using non-taught or new surface techniques on their artworks (Student Artwork Examples, Gamification Tracking Document)
R+  = Students completing more than required pieces to submit the best for grading and performance bonuses; persisting and striving for improvement; taking pride in work (Student Artwork Examples, Gamification Tracking Document)
R+ = Students throwing “blind” to see if they can do it and earn the badge; challenging selves and outside comfort area (Student Artwork Examples, Gamification Tracking Document)
R+ = Students expressing excited attitudes about earning “money” to pay for goal of new types of clay, tools, and materials (Journal/Observation Notes)
R+ = Students encouraging others to stay on task, complete work, and do it well to get studio completion bonuses; stronger sense of classroom community (Journal/Observation Notes)
R+ = Students following high school art page on Instagram; actively “liking” and commenting on each other’s work; participating in and helping create art community (Social Media)
R+ = Students following artists on Instagram; actively “liking” and commenting on artist’s works; referring to artists they follow on Instagram within classroom or processes shown; art community engagement (Social Media)
R\ = Not every student actively participates on social media; some on Instagram yet choose not to follow or comment (Social Media)
R+ = Students more careful about being prepared with rubrics, pencils, etc. to avoid having to “pay” for replacements (Journal/Observation Notes)
R+ = Students visit badge boards and redemption stations to see options and pursue things that interest them; more student choice in engagement (Journal/Observation Notes)

LAYER 3: Reflexivity and Encompassing Metaphors

Based on the above information, I feel like the gamification strategies aren’t hurting anything, but I am not fully confident they are making significant positive impacts on every student in my classroom at this point in the game process. As I mentioned above, two of the students who declined to play the game are members of the audience I was most hoping to engage with the game. It is possible that those willing to participate in the game are naturally the students who would be more likely to engage themselves, challenge themselves, and explore new things whether they were participating in a game or not. However, the late-entry participation and continued participation indicates there are some redeeming gaming qualities or motivators for the students. I have not witnessed any unsportsmanlike competition between students or classes; it does seem to create a more playful and unified classroom environment by giving students something to strive for as individuals and as a class studio “team.”
At this time in the process, I can’t help but wonder if sometimes I’m dangling a well-meaning carrot in front of my students, and many seem to be following and chasing that carrot (some apparently do not like carrots…) and doing lots of wonderful things along the way…but I really need to figure out where that carrot is leading them, if anywhere. Is there a definitive ending point of that game? Will there be a “finish” for them, or not? Should they feel like they get that carrot, or is the point for them to always keep pursuing it but never reaching it? Are they only doing things with the belief that they will get the carrot in the end, or are they valuing the “chase” and the processes, experiences, and self-realizations that are occuring at the same time? Also…for those students who are not enticed by carrots…what will engage them more?

LAYER #4: Seeing Patterns as Major Themes

The major patterns and themes that emerge most throughout my questions and my process primarily involve student engagement and student exploration. I am trying to help reshape student mindsets and attitudes about learning in general; using gamification and studio habits of mind to help instill a growth mindset through arts experiences. The skills, habits, and attitudes I am trying to affect aren’t just restricted to a studio art classroom, I am just trying to light a spark in this setting. These skills, behaviors, and attitudes will naturally have positive impact on their artwork and art experiences, but they are also valuable experiences that will hopefully transfer beyond the classroom and into the daily lives of students. The key behind everything is motivation: motivating students to participate and buy into a game, motivating students to engage and personally connect to their artwork, motivating students to participate in art communities, motivating students to seek personal challenges and embrace exploring things where success is not guaranteed. When something is able to motivate a student into trying these things, the student becomes involved. They become more personally invested in the more intrinsic rewards of pride in work, experience, processes, and community. They learn more about themselves and their capabilities, and can have fun while feeling a sense of pride, self-awareness, accomplishment, and growth.

I chose to do a narrative visualization, and tried to think into the minds of my high school students and the mentalities that restrict their creativity and artistic abilities. When I was thinking about their education and the narrative of a student’s mentality by the time they reach my class, I couldn’t help but think about some of the earliest cues that might influence their current mindsets. I immediately thought about the “Goofus and Gallant” cartoons in Highlights magazines, where young readers were taught very early on about a “right” and a “wrong” way to do things based on situational comparisons. It’s one of the earliest and simplest “narratives” that young children can start to understand on their own. In a school setting, it seems to relate to the “artist” way of doing things vs. the “student-raised” way of doing things…which ended up inspiring my narrative inquiry as a visual “comic” inspired by those classic “Goofus and Gallant” segments.

I feel like many of my students have been raised under the pressures to always find the “right” answer, to fear being wrong or different, and to carefully follow directions to get the desired end product that provides them with the grade they want. In high school, students are on their last stretch before college or the workforce. Many have “GPA” blinders on, focused purely on following a prescribed set of instructions and assignments to get them to earn the grade they need to reach their GPA goal. For some, it’s to qualify to apply for colleges of their choice. For some, it’s to make up for past course failures and they need course credit just to meet graduation requirements. They may be taking the course for what they believe is an “easy GPA boost” or “easy credit”…but even those who have an interest in art suffer the side effects of the many years of training to be “good student.” Almost everything they ask is in terms of their grades…”Why didn’t I get an A?” “If I don’t fix that, what will happen to my grade?” “Can I still pass if I turn it in the way it is?” “Is this good enough for an A?” Their artwork isn’t the focus of their attention…their grade is. Their art is basically just a reading assignment or a math worksheet that’s in the way of their grade. Many begin by doing the bare minimum they think is expected to earn the grade they want, when it should at least be equally important (if not more!) that they create the artwork they want. There should be an innate sense of pride and accomplishment!

  I broke it down into key areas (many of them key areas of Studio Habits of Mind): student engagement, student confidence, student persistence, student exploration, student growth, and students’ abilities to envision (to adapt and to improvise). A common student mentality is that art and creativity are natural talents, not skills to refine and grow. They give up when things don’t go their way, rather than rolling with the punches. They lack the confidence to try new things or be different; the fear of standing out for a failure is prohibitive artistic risk-taking…and even standing apart from others due to success can be an intimidating situation, with potential unwanted attention or for elevating themselves to new standards they’re afraid they can’t continue to meet or exceed. For many students, “better safe than sorry” seems to play in the back of their minds…they’ll stick to what they are comfortable with doing, with what they know they can do already, rather than try to build upon those skills and grow. When they’ve reached the same points they have successfully reached in the past…they stop. They’re done. There’s a disconnect between themselves, their own artwork, and the art community. Many value their artwork as they would an old math worksheet: “Here’s what I did to get an A” rather than “Here’s what I created! I’m so proud!”

When we are teaching students to be artists, we want them to be able to embrace and even welcome challenges, because they are really unexpected opportunities for new creations or solutions (inside and outside the art world!). Rather than fear a failure, we want them to either learn from it and grow…or learn from it by adapting or improvising. The fear of failure is removed when you learn that you can find ways to conquer them…which in turn makes you more likely to take artistic risks, because, worst case, you present yourself with a fresh new challenge to exercise your skills and creativity. In other classes, not getting a question right is a failure because there is only one solution…in art, the possibility of unlimited “right answers” is often uncharted territory that overwhelms students. They are the products of a “right vs. wrong” mentality common throughout most of their education.

Discussion of Arts-Based Research as Social Justice Activism:

Searching simultaneously through ERIC and Google Scholar for “Arts-Based Research,” I went through pages and pages of results looking for an arts-based research article that was not only free to access, but also interested me personally. After finding many examples of articles that fit one but not both of those criteria, I stumbled upon an article on ERIC called, “Creating an Ecology of Hope: Arts-Based Interventions with Refugee Children” by Sophie Yohani. After reading the abstract, I knew this was an article I’d be very interested in reading. The ERIC site requested payment to access it, but when I put it into the Google Scholar search, I was able to access the entire article for free (yay!).

While the article is written primarily through a psychology researcher lens, the study itself is arts-based and uses art to help provide meaningful psychological insight, primarily through the arts-imagination and arts-embodiment perspectives. Here is the researcher’s abstract:

This paper illustrates how human ecological theory and hope theory were used to develop arts-based research tools and program interventions with refugee children in a Canadian inner city context. Building on key ideas such as: the contextualized, reciprocal, and dynamic nature of hope, the paper identifies a series of program activities. These include the use of photographs, a hope quilt, the development of narratives, followed by opportunities for children to share their hope work with others and for parents and other adults to undertake child-focused and hope-based discussions. Policy and program implications for refugee children are then discussed (Yohani, 2008, p. 309).

Yohani is trying to used arts-based research as a means to address social justices of inner-city refugee children. While the study focuses on the children, the study also later uses their findings to reach out to the children’s families and communities. Yohani is using studio art practices that involve “creativity and imagination” as a “form of research to develop theory or understandings about life situations” (Boyd, 2001, p. 10). This is reflective of the arts-imagination perspective of arts-based research, which she is using to better understand the refugee children so that they can better create and support “hope-focused program development with refugee children in a Canadian inner city context” (Yohani, p. 310). Knowing the wide ranges of traumatic experiences the children had, and the challenges of struggling in a new country, they wanted to understand the children’s ideas of hope. The children were given disposable cameras to take with them, and asked to photograph things that gave them hope, because the researchers wanted to better understand their life outside of the children’s refugee center. The children were asked to draw their “hope story,” then write out or verbally explain their narratives. These “hope stories” included journeys of survival and escape from war, snapshots of hopeful experiences such as seeing a United Nations food truck in a refugee camp, memories of playing with new friends in Canada, and cultural metaphors such as a broken jug meaning good luck (Yohani, p. 316). They then transferred their drawings onto a hope quilt.

I also believe that the arts-embodiment perspective can also apply because their art experiences were a “multi-sensory way of exploring ideas or concepts that promote human dignity” that also helped embody how the children and adults “perceive their experiences and other intangible concepts, sensitivities, and ideologies” (Boyd, p. 12-13). They used a variety of means to explore their ideas of hope (drawing, quilting, photography, written, orally) and then they held informal exhibitions of their work to share their art, their stories, and visions of hope with their families, community, and women’s prison inmates. Yohani says the students’ work “became another example of the ecological value of this medium of research to transfer information to different groups (p. 317). She also pointed out that “the process of sharing results with others can also be viewed as hope enhancing for the children, particularly since the research highlighted the important reciprocal nature of hope. Thus, sharing children’s explorations of hope can have a two-fold outcome—enhancing hope by self-explorations as well as enhancing hope by sharing explorations with others (p. 317-318). Yohani also mentions that parents were amazed at the levels of hope expressed by their children, when as adults, they felt hopeless and feared they were failing their children in terms of providing for them and in terms of setting good examples for hope and the future. Seeing their children’s visions of hope also inspired them to see brighter visions of the future and feel proud of their children and themselves; I feel that those actions of sharing helped promote human dignity between the children, their families, their communities, and the staff members at the refugee center.

The arts-based research in this study helped refugee children reflect upon and communicate their personal narratives, histories, and past and present visions of hope. The staff members at the refugee center were better able to understand the struggles that these refugee children were facing, and develop ways to help instill hope and maintain hope throughout challenges. From their drawings and hope quilt, their personal stories of struggle and hope were expressed. Their written and verbal narratives helped explain their drawings and intentions; conversations were initiated and discussions followed. The children’s photography work not only gave the researching staff an intimate perspective of the children’s daily lives beyond the refugee center, but the selections of moments to capture helped express their personal vision of hope. Children also shared their photographs and discussed them with others and the staff; the staff and researchers were pleasantly surprised to see that the children seemed to have many visions of hope outside the refugee center, and that their vision of hope could be fueled and maintained in their daily life. This arts-based research study blended the arts-imagination and arts-embodiment perspectives to help the researcher achieve her psychological investigative goals.

This study used arts-based research to help create many meaningful and helpful dialogues between the children, staff members, researcher, parents, families, and community members. It also helped the researcher and refugee staff members better understand refugee children’s perceptions of hope and used them to help model refugee programs that would help refugee children more successfully adjust to life in their new countries and promote positive and meaningful social change.

Keifer-Boyd, K. (2011). Arts-based research as social justice activism: Insight, inquiry, imagination, embodiment, relationality. International Review of Qualitative Research, 5(1), 3-19.

Yohani, S. C. (2008). Creating an Ecology of Hope: Arts-based Interventions with Refugee Children. Child and Adolescent Social Work Journal, 25(4), 309-323. doi:10.1007/s10560-008-0129-x


First Draft Problem Statement:

The purpose of this study is to determine if classroom gamification strategies can be aligned with both the New National Core Arts Standards and Studio Habits of the Mind and be used to increase high school student engagement and motivation within visual arts courses. I will develop prototypes for several gamification strategies and pilot their implementation within three of my high school ceramics courses over a period of three months. I will closely observe and document student participation, achievements, progress, and responses in order to evaluate my classroom gamification strategies in a visual arts studio setting.

Concept Map:
This is my concept map exploring the key problem areas regarding student engagement and gamification while still meeting visual arts standards.

     When I envision myself conducting action research, I always see my “art journal” beside me. It is just a cheap, hardcover sketchbook from Michael’s or something, with the standard “paintbrush and art palette” illustration printed on the covers, just to emphasize that it’s “arty,” haha. It was given to me by a colleague years ago, and she printed out a vintage Girl Scout photo to slide in with her personal note as a joke about how she says I am always seem “too prepared,” but here’s a sketchbook to help organize all of my thoughts and ideas in (rather than my very scattered earlier system of tons of scrap papers scribbled with ideas, observations, modifications, etc. flooding my desk, haha).
     I flipped through the sketchbook and created loose “categories” to help organize my ideas, ranging from “student motivation,” “classroom management,” “glazing techniques,” “presenting artwork,” “critiques,” “grading criteria,” etc. to more specific courses and individual projects/assignments in each. Whenever I notice something as I teach, I quickly flip the the corresponding section and jot down my future suggestions or make note of a specific problem to address before I teach it next. When I get feedback from students, I jot their suggestions and input down in the corresponding sections as well. I constantly go back and review my findings in each section, and try to make positive modifications for my upcoming students/classes. I find it much easier to scan through a designated section than to try to shuffle through hundreds of scrap papers, haha.
     As I continue to visualize, I also see my colorful array of InkJoy pens. I like using a variety of colors, and I like scattered notes vs. linear. For me, linear notes imply a hierarchy of the top being the most important, and the bottom being the least…and I don’t like that. So I alternate my notes in different colors, going different directions, so no one “note” or “idea” seems more important than the other. My action research would be connected to this book and the notes and observations I have already made within it; my research would be built out of this book, and my most helpful research findings would also find a way to be recorded in this book as reminders to myself whenever I open it.
     The people and locations I see change…I am wandering around my classroom watching students, I am at my desk at school jotting down ideas, and I am on my couch at home, with my laptop and books and notes spread out across a pillow or blanket on my lap…with a potential dog or cat or two trying to climb on top of it all, and my husband on the other couch while Netflix or YouTube is playing in the background. I am always asking questions (much to my husband’s annoyance), but my students don’t seem to mind. My students have a decent range…grades 9-12 all together, variety of genders, races, sexual orientations, gender identities, languages…sometimes I have to pantomime or attempt basic words in other languages to get feedback. I am almost always observing whether I am demonstrating, talking, listening, assisting, etc…and probably more serious than not, which I am trying to work on loosening up, because despite a serious projection, I would actually consider my professional identity in this context to include playfulness, intrinsic motivation or engagement, and a feeling of artistic community as my three main drives.
     If I would continue to analyze the object of my sketchbook and make connections from personal concerns to larger social issues and art education, I think the issues that would come up would be issues on equality. As I said, I hate lists and the hierarchy of importance they imply; my notes are scattered and nothing can be identified as “most important”…I read my notes from wherever my eye naturally falls on the page at the moment I open it, and jump around to wherever my eyes feel like going. I could also make connections to equality by my use of a variety of colors…I don’t consider one color ink superior to the rest, and all colors are represented (assuming I had those pens available…sometimes I was limited by the ones that happened to be in arm’s reach or not out of ink, haha). My sketchbook also includes student feedback, not only my own. In terms of equality, I want all voices to be heard and included. Even if I as an educator personally do not agree with their suggestions or believe them to be feasible (yes, it would be fabulous to go to Paris for a field trip and it would be fabulous if no one had to pay or fundraise…), I still include them as a reminder of something to consider or lean towards if possible in the future (so meanwhile, they’ll have to deal with browsing the Louvre online). Growing up, my art-classes were much more teacher-lead and technique-focused. There was very little wiggle room for addressing non-traditional techniques or topics. However, this sketchbook seems to also record the shift of student voices and input in how they learn their material, topics or themes they want to address, and alternative approaches to traditional art making. In the past, I don’t believe student feedback, suggestions, or discoveries would be included as much, nor the process of the teacher asking for it. I think right now in the world, we can’t deny that there are a lot of people whose voices aren’t being heard, asked for, or considered in many decisions or policies.
     The inclusion of the “Girl Scout” vintage photo and Girl Scout Handbook quote could also be a nice plug for the feminist movement and general fight for equality overall. Rather than include an historically white, dead male artist as an inspiration insert, a quote about being prepared to act and do the job well alongside a female (though white…) promotes a stronger and more personal sense of empowerment. While historically dead, white Western Civilization (European) men dominated the art world and education…art education is shifting towards a more equal representation of artistic contributions of artists of different cultures, time periods, races, sexes, sexual orientation, gender identity, etc. The quote on the outside of the book simply reads, “art imitates life,” (all lowercase)…which also gives a general reminder that life (all aspects, be it social, political, sexual, economical, cultural, etc.) are a natural part of art and therefore art education. 

Added 1/18/18: I noticed several people posted questions they would be likely to pursue in their own rooms, and I figured I’d add mine. I am currently researching gamification and trying to figure out how it could best be implemented in the high school art studio (ceramics, in particular). I am interested to see if gamification strategies can be aligned with the New National Core Arts Standards and the Eight Studio Habits of Mind in a visual arts curriculum, and if the gamification elements can be used to help increase student engagement in the course (and art in general), as well as help increase student motivation to take more artistic and conceptual risks, try new things, participate more in the artistic community, and challenge themselves in new ways that they may not have done otherwise.

ANALYZING AND ADDRESSING IDENTITY STEREOTYPES IN OUR STUDENT CULTURE

*I apologize in advance for any wonky formatting…this blog is set up really strangely and all of my formatting from my original lesson goes out the window in here.
*More updates and imagery will be posted as actual lesson progresses in my classroom.

ESSENTIAL UNIT QUESTIONS:
-What is identity and what are ways and reasons that some identities are afforded superiority, power, and privilege, while others are afford inferiority, oppression, and restrictions?
-What are stereotypes and in what ways are they created, perpetuated, and/or fought in our society?
-How are images, text, and actions encoded with meaning, and how can they be decoded to determine the messages being sent?
-Which diverse student identities in our school have suffered stereotype treatment or inequalities in power and privilege, and how is our school creating, perpetuating, and/or fighting them?
-How can I promote acceptance and unity among diversity by creating a visual artwork based on new research and knowledge, and inspired by a real-life example of the student identity stereotypes currently being experienced in our own school?

ESSENTIAL UNIT VOCABULARY:
– Identity – Stereotype – Symbolism – Encode – Decode
– Power – Privilege – Oppression – Diversity – Equality
– Race – Ethnicity – Culture – Nationality

UNIT MATERIALS:
– Sketchbooks – Large paper – Markers/Pens – Writing Utensils – Magazines
– Chromebooks – Camera/Cell phone – Printer
– School-wide stereotype experiences and statements (*Part of Project Harmony)
– Internet (Google Drive, television commercials, song lyrics, website ads, headlines, advertisements,
research, etc.)
– Miscellaneous art making materials (depending on student choices)

PENNSYLVANIA VISUAL ART STANDARDS:
9.1.8 A Know and use elements and principles of art form to create works.
9.1.8 B Recognize, know, use, and demonstrate a variety of appropriate art elements and principles to produce, review, and revise original artworks.
9.1.8 C Identify and use comprehensive vocabulary.
9.1.8 E Communicate a unifying theme or point of view through production of artworks.
9.1.8 F Explain works of others.
9.1.8 G Demonstrate and maintain materials, equipment, and tools safely.
9.2.8 A Explain historical, cultural, and social context of individual artworks.
9.2.8 B Relate work ins the arts chronologically to historical events.
9.2.8 D Analyze a work of art from its historical and cultural perspective.
9.2.8 E Analyze how historical events and culture impact forms, techniques, and purposes of art.
9.2.8 F Know and apply appropriate vocabulary used between social studies and the arts and humanities.
9.2.8 J Identify, explain, and analyze historical and cultural differences as they relate to art.
9.3.8 A Know and use the critical process of examination of artworks.
9.3.8 E Interpret and use various types of critical analysis in the arts and humanities.
9.4.8 B Compare and contrast informed individual opinions about the means of artworks to others.
9.4.8 C Describe how the attributes of the audience’s environment influence aesthetic response.

ASSESSMENT:
– Student participation in bell work, activities, critiques, reflections, and discussions.
– Completion and presentation of stereotypes in our visual culture.
– Student research on non-shared identity and portrayal in media, artwork, society, etc.
– Student visual art project providing a voice to a non-shared identity stereotype experienced by students within our own school.
– Student’s written artist statement on their project.

LESSON:
1. BELL WORK (Projected on screen as students enter; answer questions in sketchbook): What is identity? How many different categories can you create to help break down identity?
– Have students share and discuss their responses in groups; have group representatives write down responses on a poster/chart.
– Discuss results and reasons with students; clarify commonly misunderstood definitions.

EXAMPLE RESPONSES:

– gender – age – race – religion
– sex – political views – skin color – ethnicity
– socio-economical class – native language – body shape – sexual orientation
– health – family dynamics – education – experience
– nationality – birth order – culture – generation
– physical appearance – occupation/employment – diet – handedness
– interests/participations – (dis)abilities (mental, physical, emotional) – “cliques”
– ownership – nationality
* Identity = a whole “self” or pieces of a whole that contribute to our “self” or we associate with a “self;” some changeable and some not
*Race = biological divisions of humans based on common distinct physical characteristics; often singular choice mostly on skin color, bone structure, eye color, hair (black, Caucasian/white, Asian, American Indian, Alaskan Native, Pacific Islander)
*Ethnicity = affiliations within a race; more regional and cultural factors (Hispanic; Latino; white = Polish, Swedish, Irish)
*Nationality = deals with citizenship; where born, where holds citizenship (American, French)
*Culture = way of life of particular group of people (traditions and customs); mostly social and non-biological (American, Corporate, Amish, Cherokee, Mennonite, Farming, Iroquois, Francophone, etc.)

2. Which identities do you occupy and have you occupied in the past? Which identities are or could be fluid? Which are or could be “permanent” or “semi-permanent?” Why? How do or might others perceive those identities?
– Students analyze their personal identities according to the categories they created; modify original identity category lists as new identifying categories emerge in personal reflection and group discussion.
– Discuss responses and how identities help define who they are; good or bad? Do any of your identities come with preconceived views or understandings? Which ones? What are they?

3. What are stereotypes? Where do they come from? Who do you think creates them and why?
– Discuss responses. Emphasize that even “presumably flattering” stereotypes are still harmful and false.
*Stereotype = widely held and oversimplified image or idea of a particular type of person or
thing

4. How might identities and stereotypes shape or influence each other? What different things could contribute to perpetuating stereotypes?
– Students discuss ideas and record responses on another large piece of paper.

EXAMPLE RESPONSES:
– family views – religion – news media – television
– film/movies – books/magazines – friends/peers – education
– ignorance – social media – jokes/humor – advertising
– toys/games – product design – cultures – music
– clothing design – food products/options – sports/events – signs
– photographs – holidays/breaks – “fake news” – laws/rules
– chivalry – role expectations – politics/politicians – accessibility
– awards – recognition

5. Based on what you’ve experienced, observed, or heard about…which identities hold the most power and privilege in our society? The least? Is there any sort of hierarchy? Why do you think that is? How and where are the powers and privileges of those identities perpetuated?
– Discuss responses, develop a rough estimation of “power levels” for different identities according to our culture; may compare and contrast with other cultures.
*Power = ability and/or authority to do something or act in particular ways
*Privilege = special right, immunity, or advantage granted or only made available to certain groups of people

6. Are any of those powers and privileges created or strengthened by oppressing others? If so, who? How?
– Discuss responses and forms of oppression that people may experience (refer to prior posters to help develop ideas)

*Oppression = prolonged unjust treatment or control

6. How are different types of people portrayed? Are stereotypes involved? Implications of power and/or oppression? Superiority vs. inferiority? How have portrayals and/or views changed or not changed over time?
– Browse and analyze examples of past and present television ads, magazine ads, billboards, music, song lyrics, video clips, toys/games, etc. (Online, magazines, text books, website ads, etc.)
– Find at least five examples in at least three different identity/stereotype categories and from various time periods and cultures. Insert in Google Slides (include links).
– Share and discuss findings.

7. How are you able to identify instances of using stereotypes, power, oppression, superiority, and/or inferiority? What symbols do you see that are being used to encode meaning? How can you decode and interpret the messages being implied?
– Discuss how symbolism is used to help communicate ideas or how objects are often associated with particular groups of people, and how those things are used to convey messages.
* Encoding – producing a message by using symbols to represent ideas
* Decoding – extracting a meaning from symbolism; process of interpretation

8. How does our high school culture compare to the “outside world culture” in terms of stereotypes, power, oppression, superiority, and/or inferiority? What contributes to this rating? Which identities do you find being given power/privilege over others? Are any identities oppressed or underserved? What pieces of evidence can you find around the school to support your answer?
– Students discuss possible contributions that could be present within a school; ideas recorded on a poster.
– Students walk around school to analyze visuals as well as non-visuals that contribute to our school culture and identities; can identify positive direction examples as well as negative direction examples.
– Discuss how students of various identities might decode these visuals; how would they feel and what could be done to improve?
RESPONSE EXAMPLES:
– lunch menu selections – activity/entry fees – college recruitment posters
– discipline/consequences – social media – (lack of) handicap access
– television news – artwork selections – reading selections
– music selections – history viewpoints – reading problems/content
– photographs – student recognition – assemblies
– fundraisers – clubs /activities – uniforms/costumes
– musical/play selections – elections – homework expectations
  – sports/activities – bathroom/locker access – holidays/breaks
– teacher attitudes/rooms – awards/trophies – Homecoming/traditions
– languages of information/forms – “tracking” of future – expectations

9. How diverse are the identities and issues? Which identity(ies) seem to be most privileged or powerful? Is there a hierarchy of identity anywhere? Is anything being done in the school to counter those stereotypes and/or equalize identities? If so, what? If not, what NOT working to counter or equalize those specific identities? Which identity(ies) seem to be oppressed or suffering the most?

  – Visit Project Harmony note card hallway installation where students in the school were asked to anonymously write down an example of an instance they were a victim of a stereotype or under false accusation based on one or more of their identities, which are displayed in the hallway for students to see. Take time to silently read over student experiences.
– Discuss student experiences and what conditions and circumstances exist within the school and society that help cause and/or perpetuate those stereotypes and assumptions.  
*Diversity = having a range of different things and identities

10.  What are the negative consequences of that stereotype for individuals, collective groups, and the world as a whole? How can we better understand others’ identities and provide more accepting environments?
– Students will choose several student “stereotyped identity” confessions of an identity they do NOT share.
  – Students will research the circumstances behind those stereotypes and what is being done today to both perpetuate and extinguish those identity stereotypes. They will explore other sources that address that identity stereotype in various lights, as well as artworks created by other artists who share that identity and/or address that identity within their works.
– Students will select the one identity whose research resonates with them strongest.

11. Students will design, develop, and create an artwork that gives a voice to the stereotyped identity they selected to pursue (no overlap in choices between students; different identities must be addressed). They may choose their media and approach. They must consider use of symbolism and how encoding messages will communicate their idea(s) best when being decoded by viewers. They are encouraged to discuss ideas with other classmates and peers to get additional perspectives.

12. Throughout the process, students will participate in a group critiques discussing the intents and goals of their artworks, and how they are approaching them. Constructive feedback will be given to help guide and direct and strengthen the remainder of the process. Process repeated again at end.

13. Students will title their work and provide a written artist statement explaining the stereotyped identity, the findings of their research, and the individualized and widespread results of that stereotype, and what they are trying to show/address within their artwork. Final group critique.

14. Student artwork and artist statements will be installed alongside the high school’s Project Harmony installation to bring visual awareness and well as textual awareness of the identity stereotyping issues currently present in the our own high school, and combat those issues with art to help promote a more understanding, unified school body that embraces student diversity.

        I have been racking my brain the past few weeks for a good story, but I don’t have any single or spectacular story to share. I have had several experiences over the years, but I feel like art education in itself is naturally a daily and constant journey of enabling, empowering, or making possible through difference, regardless of (dis)ability. Every type of person and student you can imagine comes through art classes, often because art (for everyone else except for art teachers and art students, haha) has a stereotyped reputation of “being an easy class” for students, with or without (dis)abilities…but the reality is that students don’t succeed because it is easy…they succeed because their (dis)abilities, whatever they are, are pushed and challenged on more individualized levels than possible in other courses. I feel that the art curriculum itself naturally lends itself to empowering the best of everyone’s unique abilities.
  One of the first things that popped out from Dr. Carrie Sandahl’s presentation was her discussion of unreasonable accommodations in the American Disabilities Act…I immediately flashed back to my first year teaching, when I had a student in a wheelchair in a room that was not very handicap accessible. I had classes of about forty students, and everyone had trouble getting around…and her, especially. She couldn’t fit under the tables in the room, so I had to modify things so she could work on a flat surface.    

I was also struck by the theatre group Dr. Sandahl discussed. It reminded me of a camp I used to volunteer at six years ago. It was a week-long, overnight camp for children and adults with a combination of physical and mental disabilities (up to age 30…until our campers turned 30…then it changed to 31, haha). I started volunteering at the camp when I was fifteen years old…we were assigned 1-2 campers, had no training about what we’d encounter, but we were assured that we would be fine and that we had a lot of experienced staff (teachers, nurses, doctors, psychologists, etc.) to support us when we needed it. I learned a lot in that first week, and even more throughout the next ten years of volunteering. After ten years working with a wide variety of campers (combinations of deaf, blind, mute, paralyzed, schizophrenia, Asperger’s, Down’s Syndrome, cerebral palsy, Cystic Fibrosis, autism,

spina bifida, etc.)…I realized that many campers lived lives where their abilities were not empowered, and therefore unrealized by themselves and by those around them. We were told that our one camper, Brian, was incapable of speaking, understanding, or doing anything outside of “walking when you pulled him along”…so he couldn’t participate in anything, but he was there to give his guardian’s a break. But just by paying attention to Brian, we learned that his abilities were very underestimated.

We were surprised to find that he was able to participate in games, he could learn how to do tasks such as help set tables for meals, that he could understand jokes, could communicate with sounds, and that fiddle music (we had a visiting bluegrass band) lit him up and had him dancing. When Dr. Sandahl mentioned the theatre group “for crips,” it made me think of the talent shows we held for our campers. Every single camper would participate and showcase their abilities. Campers in wheelchairs would have “synchronized dance routines,” or “break dancing.” Campers who were deaf would sign jokes or stories they created, and campers who understood sign language proudly show off their “second language” by translating for everyone. Mute campers acted out silent scenes or stories. Some did impressions, some sang, some showed off artwork or things they made…but every camper had a moment to show off what they COULD do.

The TEDxPSU talk by Dr. Joseph Valente and the Jonathan Novack “Don’t Look Down on Me” video reminded me of another camper, Bobby. Bobby had a type of dwarfism, was paralyzed to the waist down, and similarly to Dr. Valente, due to complications of pneumonia as a baby, was also deaf. Dr. Valente emphasizing the “deafness is NOT a disability” really hit close to home not only because of the similar circumstances as Bobby, but how people made assumptions about Bobby. Bobby was cognitively-able…he just happened to have a type of dwarfism, happened to be paralyzed, and happen to go deaf soon after being born. Although Bobby couldn’t talk (he could make sounds), when Dr. Valente mentioned that his first language was “reading people’s faces,” I knew that’s exactly how Bobby operated. He was fluent in sign language, and a couple counselors and I knew enough sign language to converse with him (I was more fluent in sign language back then…I taught myself sign language as I learned French and Spanish from middle school through high school…haha)….but Bobby’s main form of communication was visual, through faces. He was able to “read” campers and alert us if something was off, we could hold “conversations” without signing, just through our faces. I had never thought about “reading faces” as being a first language…but it made sense. I love the idea about recognizing sign language as a bilingual communication skill, not a disability.
Sami Schalk’s “Metaphorically Speaking” was a deep concept to process. I am still unraveling it in my own mind, because I appreciate the use of metaphors in languages as a means of creative expression, and I do see how some could assume negativity with terms such as “blind,” “deaf,” “mute,” “dumb,” etc….but I personally don’t recognize those as negative or disabled terms. (I do admit, I just now paused, deleted “see,” and replaced it with “recognize”…just to avoid unintentional “ableist” word selection, now that I am more aware of those tendencies.) I think my consistent exposure to people who are deaf, blind, mute, or otherwise “disabled” had changed my way of thinking at an earlier age…before I was fifteen, I interacted with several people with a fairly generic range of (dis)abilities, but not to the extent I had at a week-long overnight camp for ten years. Before going to that camp, I was admittedly nervous and uncertain about the “disability” focus…but afterwards, I left only with the impressions of their abilities; their personal strengths and unique personal adaptations. I experienced first hand the amazing things that blind campers were able to do and maneuver with seemingly “super powers,”…the ways that deaf campers found ways to navigate communication even with those who didn’t understand sign language…the complexity of thought and tasks that campers could manage when given the opportunity. Things I naively would’ve expected to be out of the question before those experiences suddenly were realistic possibilities.
I think those experiences really helped shape those senses of empowerment and possibility in my classroom. I have been in IEP meetings where I have been told not to worry about “teaching” a student because they aren’t able to follow instruction or handle the tasks; just give them some paper and crayons or some clay and let them do whatever, as long as they do something. I believe many disabilities are viewed as negatively simply because

they are just taught and/or learned expectations. So many students I get come with lowered expectations or the belief that they can only do something with someone’s help…I appreciate suggestions and input, but many times, the student is fully capable of adapting instead of me adapting expectations to their “disability.” I want to see what the student is genuinely able to do when pushing herself before I make any calls. I believe that automatically assuming that someone can’t do something is a negative implication on their abilities…it’s not a way to empower them…what empowers people is doing something that they (or others) did not expect them to do so well, or to do at all. No one feels empowered by completing a task they’ve already done or were expected to do…everything is relative to each individual person’s abilities. A seasoned marathon runner (…serving as a metaphor and not an ablelist move to discriminate against those who are unable to run) will not feel empowered by successfully completing a one-mile race…however, a recent amputee with a new leg prosthesis who trains hard to work up to completing a one-mile race will feel empowered. Empowerment is individualized by personal ability, not a comparison to other’s abilities.
As a quick reference to a current teaching situation, I have a student in my intro to ceramics class with an aide. The aide is a wonderful woman and does everything she can to help her student…however, I feel that she helps a bit too much and the student loses some of her own independence under the belief that she can’t do anything without her aide doing it for her. When her aide is not there, my student used to sit and wait doing nothing until I told her to go get her things off her shelf, to get out her project, to open her bag, take out her clay, get this tool…every single step one at a time. I told her that I would demonstrate and answer her questions, but then she needs to do it on her own. Now, she functions much better independently…she is able to decide which tool(s) she needs, how to form the clay on her own, how to attach it, etc. She stayed after school to work without her aide the other day…she completed half of her project without my help, and it was done extremely well…she was so excited that she brought her mother into the classroom to show off what she had done “all on her own.” I may have helped enable, but she ultimately empowered herself.

P.S. Side note…I was listening to NPR about two weeks ago, and there was a segment on the perception of disabilities, and changing the attitudes towards disabilities into a “super-power,” especially through the eyes of young children. I tried finding it online, but I was not successful. However, it was a very appropriate segment…if anyone else heard it, maybe you could help me out! I’ll keep trying to find it 🙂

Source: The Feminist Art Project, with Art Institute of Chicago  
(http://www.artic.edu/aic/collections/exhibitions/AfricanAmerican/resource/1008)
Lesson Title: African American Art (Texture in Relief Print Portraits)
Grade Level: 7-12
Summary of Lesson: Students use Elizabeth Catlett’s Sharecropper for inspiration to create relief print portraits. They are provided with a print of Sharecropper and then asked to discuss and support their responses about: the woman’s age, her clothing, viewer’s perspective, her feelings, the visible textures, and the ways the artist suggests these textures. Then, the students draw a portrait of a person they admire and fill the paper with marks to create a sense of texture. They transfer their image to a linoleum block, carve, and print their portrait. Watercolors are encouraged for added color. Students sign, date, and number prints. Assignment is evaluated on creativity.
Culturally Relevant Pedagogy Review: I feel like this lesson is an attempt to branch out and incorporate non-white, non-male artists in the lesson by focusing on an African American female artist, Elizabeth Catlett. I think the lesson tries to break the cultural and feminist gaps, but only on the surface by only focusing on the visual aspects of the selected artwork rather than the cultural or feminist views and experiences that could be further investigated. They also limited the perspective and experience of the artist by restricting students to one single portrait, when there are many Catlett prints that are portraits and incorporate visual texture. By providing students with a variety of Catlett’s portraits, they would not only make visual, stylized connections with her works, but also start to see connections with her culture, personal experiences, socio-political influences, feminist experiences, and cultural experiences. Students could have analyzed a collection of her works and the symbolism and portraiture used to express stories of struggle and oppression. What historical references could they find? Whose perspective is shown and how does the subject seem to feel? Students could be asked to discuss what events or circumstances may have set the tone for her prints, and imagine what Catlett’s artworks might look like today. Who would she depict? Have any of the African American and/or African American women struggles or oppressions changed or remained the same? What is (or is not) being done to address or improve those struggles or oppressions? Are new things taking their place? What struggles or oppressions have the students faced in relation to their culture, race, sex, socio-economic class, gender, etc.? How could students create a textured portrait print that addresses a contemporary struggle of African Americans, women, and/or other groups? What roles or actions could students take on to fight against those struggles? This lesson has the potential to be culturally relevant for African Americans, African American women, and women, but instead simply stops at the “inclusion” of an African American woman artist in a lesson. Students would probably feel much more disconnected from the original lesson because there was no relevancy to themselves or the world around them for them to make connections with, or cultural learning to be applied. I was surprised to see this on the Feminist Art Project page as a link, because although the lesson features a female artist, there was not even a suggestion of feminist content in the lesson.

Source: Media Education Foundation
(http://www.mediaed.org/handouts/DeconstructVideoAd.pdf)
Lesson Title: Deconstructing a Video Advertisement
Grade Level: Not Specified (I teach high school, so I am reviewing this in terms of 9-12th grades)
Summary of Lesson: A video ad/commercial is selected. It is played for students from start to finish, and they write down five adjectives describing the ad. The video is played on mute for a second time, and students evaluate its aesthetics (genders, gender representation, expressions, clothing, relation of person to product, camera angles, lighting, highlights, shadows, colors and contrasts, text characteristics, graphics/animation, etc.). The video is played for a third time, and students evaluate the audio (describe sounds, genders of people talking, music, types of songs, jingles, narration of ad, repetition of brand name, slogan, etc.). Students then determine the purpose of the ad, the product, its appeal, target audience, emotions/feelings associated with product, and personal opinions.  Students then determine the assumptions the ad makes and the messages it sends in terms of gender, sex, race, class, etc. and if they reinforce or challenge any stereotypes. Taking all of that into consideration, students consider the possible consequences of these messages and undertones, both long-term and short-term and on different audiences. Discussion over countering or undermining social change, social responsibilities of companies, and considering oneself as a citizen before a consumer.
Culturally Relevant Pedagogy Review: I chose this lesson because I considered it a good opening activity for a larger-picture lesson. I think it’s important that students learn how to interpret and evaluate the influences of world around them, and the media guides point out that the average person encounters 3,000 ads a day. I thought that was a bit extreme until I started considering radio ads, billboards, internet ads, television ads…and how quickly they come and go throughout our daily lives. The subliminal messaging that goes into those ads (however obvious or unintentional) does play an important role in how society views things, and having an understanding of how to recognize those influences in order to reinforce or counter the beliefs portrayed is important for students. It helps them understand what influences may be shaping their own views and those around them. This lesson provides the opportunity for the instructor to help set up the cultural relevancy for his or her own students; I like how it breaks down an ad into multiple parts that make up the whole, to help students dissect and digest everything they are being fed by the media. They are able to make more connections, and also apply the same learning concept to many other aspects of their lives. I feel like this is a lesson that would likely affect the ways they view and interpret ads they continue to encounter throughout their lives, and have them seek out cultural, social, and political messages in more of those ads. Student culture today is very media-based, so there is never a shortage of material for this lesson. It provides a lot of open doors for discussions already, but I think including some “What if” statements could spark even more meaningful discussions that connect to students’ individual and collective cultures. Asking the students “What if…” and having students modify portions of the ad in terms of gender, sexual orientation, race, culture, politics, social class, economic class, etc. would provide more avenues for student expression beyond what was/was not included in the video. I primarily teach sculpture and ceramics, so I feel this would be a great introduction to a sculptural project where the students (individually or collaboratively in a group) would then find an ad or commercial of their choice, deconstruct it like the class example, and then develop a specific response to their ad through a sculptural artwork.

Source: Judy Chicago: An Art Education Collection (The Dinner Party Curriculum Project)
(http://judychicago.arted.psu.edu/_assets/DPCP_Encounter4_1.pdf)
Lesson Title: Encounter 4 (Mapping Gender Identity)
Grade Level: Roughly 4-12th Grades
Summary of Lesson: Students are asked to share traits commonly associated with “boys/men” and “girls/women,” share which jobs/careers are commonly associated with each, and the instructor explains the meaning of gender roles and stereotypes. Students will explore how ideas about gender enter their personal lives and participation of activities (family, school, recreation, community, school, etc.). Students will create a gender map, then share their results with the class. Students will discuss and organize information into “Things I’ve Always Known About Gender” and “What Surprised Me About Gender.” Students will share what they had never thought about prior to the lesson, and compare and contrast gender roles and personal experiences. Students will then discuss how they believe gender roles and stereotypes are connected to the meaning and purposes of The Dinner Party.
Culturally Relevant Pedagogy Review: I feel like this lesson does a good job getting students to consider gender roles in new ways and have students open up about their own experiences through gender stereotypes. I like the ideas of sharing those experiences, because they would be relevant to everyone in the classroom in some way, shape, or form. I feel like this assignment is much more student-led than the other lessons and has a more personalized focus that could also be expanded into other stereotypes including race, sexual orientation, culture, religion, class, etc…because discussion could always take the perspective of overlapping roles depending on the classroom diversity or the directions the instructors want to include (gay Catholic male, Mexican teenage girl, African American transgender, Muslim male, etc.). There are many directions this lesson could take, however, the connections to The Dinner Party are primarily feminist/gender based, so perhaps multiple artworks could be explored.

REVIEW OVERALL: While I only chose three lessons to focus on for my reviews, I did go through almost all of the lessons throughout the links. Overall, I found that the study guide links provided the strongest types of questions and discussion elements, with a lot of options to have students incorporate pieces from their own teenage culture (movies, songs, commercials, ads, books, etc.) into their lessons, which helps avoid “aged” examples. While I found the content of the lessons strong, I felt that the content was geared more for my generation (30+ years old), just because many of the examples they relied on were from the 1990s to early 2000s, way before my high school students were born. A lot of the things my high school students grew up watching and watch now aren’t included, and while I can appreciate and see how much has changed from the 1990s through today, their teenage culture isn’t really interested in “older shows”…which were also shows more geared towards adult or mature audiences, anyway. However, I think a lot of the material could easily be transferred to today…it just needs updated with more meaningful examples to the current student population. I loved the thought-provoking questions, and the variety of suggested assignments and projects. However, I was a bit disappointed that many of the assignments and projects weren’t deeply art-based learning…I totally get the importance of culturally relevant practices, but I feel like there is more of a shift away from art in the process, where (in reference to another course), art is being used as a “handmaiden” for other content areas, with cultural relevance being taught with a sliver of an art connection, rather than art being taught while supporting cultural relevance. I play devil’s advocate with myself a lot on this topic, because I could argue both sides…I understand the pedagogy and fully support culturally relevant practices in art and every other subject area, but sometimes I feel student artistic creation and processes are being pushed to the back burner in order to cover other material to the depth necessary to be effective. Students sign up for art classes to feed their creative energies and desire to “make”…and with class time increasingly cut shorter (due to state testing, national testing, writing initiatives, reading initiatives, academic support initiatives, course content expectations increasing…)…it gets so hard to adequately teach content, techniques, processes, history, artists, social connections, career connections, political connections, cultural connections, cross-content connections…all to the depth needed for students to actually benefit from the instruction…and yet still provide students with practice and “art creation” time that they need to feed their creation souls. (Sorry…inner-conflict coming out…)
Anyways, in terms of the Feminist Art Project lesson links…I don’t know if it’s just me, but felt many of those were fairly superficial in terms of cultural relevancy. When I went through to explore the lessons or an institutions “lessons” page…I found that most of them seemed to be selected simply because a female artist’s artwork was one of the features. Nothing really about cultural relevancy…just “it has a woman so it’s a feminist lesson.” I was disappointed by a lot of them on those terms. I suppose they’re expected to be shells of lessons to branch out from in a feminist direction, but I felt that for the Feminist Art Project to select them, it was almost an “endorsement” to the feminist elements of the lesson, but I think that fell flat for most. Luckily, almost all of the lessons I browsed left plenty of room and opportunity to explore in multiple culturally relevant ways.

“White Man Shooting Himself in the Foot”
  – White Like Me: Race, Racism, and White Privilege in America      
The original magazine ad featured a white man in a suit holding a gun directed at his own foot, used to show self-destructive habits in the workplace. The use of overlay and re-positioned objects (black male figure positioned behind Dr. Martin Luther King, Jr.) created an alternative narrative addressing past and current victimization (both literal and metaphorical) of black Americans. “White Like Me” had several historical references that unfortunately rang true with today’s events, leaving the sad impression that very little has improved. I couldn’t help but see similarities of this election year with the discussion of David Duke running for office, and somehow earning a strong majority of the white votes, despite blatant racism, KKK leadership, and Nazi sympathies. It sent a chill down my spine, not only because of the Duke role in Trump’s election, but the similar candidacy that seems to perpetuate racism yet still appeals to an audience of white Americans. The documentary host also discussed police brutality and jail populations. By placing the non-violent black man on the white man’s foot (beneath the gun), I wanted to change the narrative to address not only police brutalities of black men, but the overall assumed power of white men over others. While the gun is pointed at the figure, the foot remains, with the understanding that if the shooter pulls the trigger, the bullet will not only shoot the man but continue to pass through and injure the shooter’s own foot. I placed an image of Dr. King in the foreground, staring at the viewer with a look of distress and disappointment, as if saying that despite all of his efforts, nothing has changed. White men don’t realize that by continuing to suppress the black community, they are shooting America (themselves) in the foot.

“A Cold, Cruel World Without a Princess”
– Further Off the Straight and Narrow: New Gay Visibility on Television
The original image came from a 1998 magazine ad for clothing, featuring five women wearing tiaras and long jackets. The text read “The Outsiders: It can be a cold, cruel world without a princess coat to keep you warm.” With the use of overlay and positioning, I added hearts and wedding bands around the two pairs. I placed a grayscale rainbow over the head of the fifth woman, an Asian woman standing all alone on the end. By covering the word “coats,” the term is omitted from the statement to read “It can be a cold, cruel world without a princess to keep you warm.” With those modifications, the narrative shifts from a coat ad to a LGBT statement. Coincidentally, the woman standing alone is Asian, and unlike the United States and England, Asian countries do not currently recognize gay marriage and therefore deny her “her princess.” This ad was actually found in a 1998 magazine (almost 20 years old already!)…so I think the ad was originally part of that same television era when the push for LGBT visibility started coming out (no pun intended). I also found the ad itself a bit ironic, as the documentary mentioned how LGBT characters on television increased as LGBT became more “en vogue” and a trend all in its own, which parallels the fashion industry trying to appeal to those popular “fashion trends.” Branded “The Outsiders,” LGBT models and characters are now becoming the “insiders” thanks to the increased visibility and recognitions in television and media. I know that the documentary was a bit dated and didn’t include the latest of LGBTs on television (Orange Is the New Black, Modern Family, Glee, House of Cards, etc.), but their contemporary presence was paved by the shows and channels discussed. I felt this was a fashion and printed media parallel of what television was doing at that same time period.

“It’s a King’s Kingdom”
– What a Girl Wants
– Tough Guise 2: Violence, Manhood, and American Culture The original imagery appeared in an article about siblings, and featured two boys and a girl, each holding lollipops. The boys have large lollipops and grins, while the girl has a tiny lollipop and appears irritated with the unfairness of the situation. After the documentaries, I was able to add imagery changing the original narrative (or enhance…one could argue that some ideas existed already). The positional hierarchy of the composition places the males larger and higher than the female, and the size of the lollipops suggests a type of inequality. I added fanned bills behind the boys to suggest pay inequality and assumed “values” of men and women, despite the equal (if not superior qualifications) of the female (graduation cap). Above is a scene of two young boys in a “house” expressing their authority over the girl through force. I felt it bridged the ideology expressed in both videos: they boys being raised under the impression that they need to assert their power and superiority physically with violence (over each other and women) as well as the girls’ fears of not only being pushed down by men (again, both physically and metaphorically), but by being sexually assaulted. The girls in the “What a Girl Wants” video constantly referred to women and girls being there “for men” and used to “sexually appeal to men.” The Tough Guise documentary referenced a lot of disturbing instances of gang rape to assert male domination (teenagers, foreign countries), and although this image of children doesn’t have that intent…you can’t ignore the disturbing rape connections as two boys are forcefully taking a young girl in a skirt against her will…inside a house, typical signifier of a “woman’s place,” and the boys violently “putting her in her place,” even if that isn’t where she wants to be. To the right, I added a King playing card, to show that it’s a male-run society and that everything has traditionally been done to benefit white males and to assert and perpetuate their power and authority over others.