How to plan for long (3.5 hour) classes

How can you make the best use of 3.5 hour long classes?There are a lot of strategies that will help you successfully pull off a long class. In my opinion, the best way to avoid the doldrums is a solid…

How can you make the best use of 3.5 hour long classes?

There are a lot of strategies that will help you successfully pull off a long class. In my opinion, the best way to avoid the doldrums is a solid syllabus with clear goals and learning objectives. In addition, these are some useful strategies when looking at a particular lesson plan:

  • Vary your pace
  • Rely on a well-thought out structure
  • Vary activities based on learning styles
  • Use interactive activities balanced with lectures
  • Vary types of interaction: Teacher-Student, S-S
  • Use activities that benefit from longer intervals
  • Thoughtfully incorporate online and face-to-face content transitions
  • Make it meaningful, related to learning objectives
  • Have fun

Other useful advice from other instructors:

  • adjustments in policy for that class (food, drink, etc)–many, possibly most, students will have been in class back to back as well
  • It’s always hard, because you’re tired, they’re tired. And they’d rather be watching <insert popular tv program here>.
  • ask them what they want: a 20-minute break around 8 pm or a short break at, say, both 8 and 9, or to start class 10 minutes late and have a short break later on, etc. Then at least they have a say in what works for them.
  • Definitely keep the lecture to the first half of your class, and leave the second half for other activities…. don’t try to lecture for 3 hours. I shook even the lecture up a bit, talking for 15 minutes or so, then playing a short (5-10 minute) video clip, then going back to talking, etc. to keep things changing so they (and myself) don’t fall asleep.
  • Try to do the most difficult task first when they’re fresh.  Break lessons into approximately 30 minutes chunks.  It’s a once-a-week class, but treat it like a twice-a-week class: do whatever you would do for the first day of the week in the first hour-and-a-half and whatever you would do for the second day in the second hour+.
  • And the best thing for these classes, put what needs to be accomplished on the board before starting.  Then the students know what they need to get through before they’re getting out of there….not that that tends to be a problem with older students, but that is one of the things students have said they’ve liked: knowing exactly what needs to be done in the period.
  • My experience was that even though almost all of us had had a full workday in our bones, we were not about to fall asleep–this was doctoral coursework, and we wanted to be there. Discussions were always very lively. However, here are some things that helped:
    1. Ease people into the class. Don’t walk in, say “Good evening,” and start lecturing. Give class members a few minutes to visit.
    2. Keep the room cool but not cold. Warm classrooms made many of us uncomfortable.
    3. Allow drinks.
    4. Allow people to leave the room for bathroom breaks or just to stretch. A lot of classroom chairs are horribly uncomfortable.
    5. Have at least one longer break so that people can get something to eat if the opportunity is available nearby. Otherwise, allow them to bring food.
    6. Be enthusiastic about what you teach. It’ll help keep people going.
    7. Make sure that whatever you have to say is well organized and useful. Confused fumbling, belaboring the same point over and over, and assigning busy work just to keep students for three hours feel like a waste of time. When you’re done, even if it’s 30 minutes early, let people go home.
    8. Be sure to address the readings in class. It is extremely aggravating to slug through 250 pages of text each week and then never discuss any of it in class or use it for assignments.
    9. Keep videos to a minimum. Yes, that’s right. The last thing I want to do after a hard day’s work is drive 90 minutes to class just to watch a movie for two hours that you then spent five minutes discussing (if that). If you use videos, choose clips carefully. For longer programs, consider making them available on Blackboard so that I can watch at my convenience. Otherwise, let me know well ahead of time so that I may rent.
    10. Make your PPT slides available on Blackboard.
    11. Do not get pulled in by irrelevant or inane questions from those students who need lots of attention. Cut off anyone who rambles off topic. Don’t be shy about it. It’ll raise my evaluation of you.
    12. Minimize group work. At the end of the day, many people are tired or irritable, and too much group work easily disintegrates into a gabfest or an argument. Make sure group work has clear objectives and is connected to the competencies for that evening. Set up the groups so that people may be active or quiet based on their level of fatigue without a grade penalty.
  • Give them a break halfway through, and take attendance after the break, even if you wouldn’t normally take attendance. Do not send them home early even once for the first 8 weeks. Allow them to bring coffee or whatever to class. If you show a film or anything, watch for sleepers.
  • I second the idea of chunking. Keep mixing it up so they won’t get bored and can interact with others.
  • Please let them move around a bit. My 3-hour session graduate courses were agony due to my chronic pain issues, and that’s why I refuse to teach them now.
  • I also used to do something “hopping” after the break. An impromptu speech and debate team, a panel of student “experts” answering questions, a “vote with your feet” discussion and so on. Do what you need to do to keep them awake! It’s a challenge. Also, I find that night classes (once a week anyway) are the most difficult in getting students to actually retain information. I ended up doing constant reviews just so they’d stay on course!
  • I don’t take attendance, but I do give quizzes every class.  I’ve been thinking of moving them to after the break in both classes (very tired of the, gee, there’s fewer people here than before the quiz).

    Now I just need to get more creative on the physical activity front.  I agree completely with its importance, just struggle with making it work in this class.

  • I third the part about not letting them go home early at least for the first 1/2 of the term if you can avoid it.

    I had some severe pacing issues the first time I taught a night class and I made the mistake of letting then go early a couple of times.

    BIG MISTAKE. They started requesting it every time until I finally told them to stop it or they would never go home early for the rest of the term.

  • You do have to re-structure what you’re used to doing, but you can actually be much more productive.

    Move into more of a social-cognitive or constructivist approach to your teaching and use in class time for group/team exercises.

    Cut down on your assignments and only have a midterm and a final assignment. Make both of them more in depth. Also have team projects and in class presentation with a significant component of the assessment be peer review.

    As long as the class is an active class the students won’t get bored.

ART H 111: Ancient to Medieval Art

Ask Angela:The instructor is Heather McCune-Bruhn (hcm1).Do you mean ART H 111 “Ancient to Medieval Art”? YesThe schedule mentions 60+6 seats open, is the course really that large? No. The “60” refers to a resident instruction course. This course is…

Ask Angela:

  • The instructor is Heather McCune-Bruhn (hcm1).
  • Do you mean ART H 111 “Ancient to Medieval Art”? Yes
  • The schedule mentions 60+6 seats open, is the course really that large? No. The “60” refers to a resident instruction course. This course is open to a max of 24 students: 12 from CE@UP and 12 from Lewistown. Angela has “6” listed because she doesn’t want the UP-side to fill up entirely.
  • Has she taught for CE@UP before? Is she an adjunct or a faculty at one of our Academic Partners? Heather has not taught for CE@UP before, but has teaching experience with teaching courses at Arts & Architecture. She has an MA and PhD in Art History.
  • Could you get us a copy of Heather’s syllabus and/or detailed course outline? As of 3/3 the instructor was still working on her syllabus.
  • Is she all set with her materials and content? What is the development state of the course? I’m asking because the situation that she has a course designed for F2F delivery ready-to-go, is a different situation than if she’s still designing the syllabus or activities. She may have good contacts and resources from her connections to A&A, but I will verify. Hopefully she doesn’t have to re-create the wheel.
  • Would she need assistance digitizing content for use in her course?
  • You mentioned “2nd six week session,” does that mean this course is a blended learning, accelerated, videoconference delivered course? The course runs TR 6-9:30 PM, 7/1-8/10 in 119 OB. The instructor is concerned about 3.5 hour long lectures.
  • I’ll be a little facetious… is she a “game show host?” What I mean by that is, is she comfortable in front of a camera, is she able to work well “live,” and is she able to engage a remote audience? Angela says she’s comfortable in-front of a camera. Angela will be training her in the new 119 when the remodel is finished in May. Alice has been notified and will apparently assist with the orientation. There is also John here at UP and others at Lewistown that provide operational support evenings and on the weekend 🙂
  • Will Heather be expected to run the equipment on her own? See above… no she won’t.
  • If the course is blended, does that mean her course is using ANGEL as well?
  • What is her familiarity with ANGEL (if she is using it)?
  • Would she be relying on any other technology to deliver her course? Angela doesn’t know, she doesn’t think so.
  • Do you know if she’s worked with an instructional designer before?

Updated 3/11/10

  • Heather is already using welcome letters to orient students to the course and set expectations
  • the textbook has 12 chapters that will be covered in 12 class meetings; she averages 6 lectures/chapter
  • Student-generated presentations of museums and other venues -> based on online resources
  • she uses essay exams and papers w/ bonus points available
  • Google Earth to map locations of art pieces
  • “unknown slide” activity – apply skills on new content in an open forum, builds confidence and exercises higher order skills

CE@UP Art 020 & 050 Syllabus Design

An instructor, John Mangan, just called me to request assistance with his syllabus for what appears to be his Art 020 and 050 classes. He’s teaching four-times a week right now. At least one of his classes goes past 10…

An instructor, John Mangan, just called me to request assistance with his syllabus for what appears to be his Art 020 and 050 classes. He’s teaching four-times a week right now. At least one of his classes goes past 10 PM (based on the availability and restraints of suitable instruction areas)!

I begin with a phone call to set up a 1-hour meeting, either in-person or by-phone, to discuss the scope of his request. I have plenty of resources related to syllabus development, so we should be all set there. I’ll have to determine what he is looking to accomplish, what kinds of instructional problems he might have, and any other possible resources he’s interested in.

I contacted Angela to discuss whether or not Becky needs to be notified and she didn’t see a pressing need to do so. From my perspective, as long as someone like Angela knows about the work, that’s good with me.

ART 020 (GA) Introduction to Drawing (3) Introductory experience in making of art through drawing media; designed for non-majors seeking general overview of studio practice.

ART 020 Introduction to Drawing (3)
(GA)

(BA) This course meets the Bachelor of Arts degree requirements.

ART 020 is intended as a general survey of the art of drawing for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and on the various conventions used in drawing. Students will be given the opportunity to briefly explore many of the traditional materials of drawing, including pencil, charcoal, conte, ink and ink wash, pastel, as well as experimental tools. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which drawing functions. As a general appreciation offering, emphasis is placed on active learning processes that involve students in basic studio materials and techniques. Since the School of Visual Arts now requires a portfolio review for Visual Arts majors to enroll in studio courses, ART 020 provides an opportunity for non-art majors to do studio work in conjunction with an exploration of art concepts.

General Education: GA
Diversity: None
Bachelor of Arts: Arts
Effective: Spring 2004

Note : Class size, frequency of offering, and evaluation methods will vary by location and instructor. For these details check the specific course syllabus.

ART 050 (GA) Introduction to Painting (3) Introductory experience in making of art through painting media; designed for non-majors seeking a general overview of studio practice.

ART 050 Introduction to Painting (3)
(GA)

(BA) This course meets the Bachelor of Arts degree requirements.

ART 050 is intended as a general survey of the art of painting for non-majors. As a studio offering, emphasis is placed on hands-on studio activities, which promote visual literacy and sensitivity to the various conventions used in the discipline of painting. Students are given the opportunity to briefly explore the various approaches to creating visual images by applying various painting materials, techniques, and concepts. As well, slide presentations, studio visits and museum critiques will augment studio exercises to facilitate a greater awareness of the cultural context in which the art of painting functions.

Students enrolled in this course will be required to participate in the following active learning components:

1. Studio Painting Assignments:
a) Visual concept development: students will be introduced to the various ways that artists create meanings through painting. b) Materials development: through a process of exploration and experimentation, students will learn how to apply various painterly media and tools in creating visual images.
c) Technique development: through a process of exploration, experimentation, and skill development students will learn how to render and model painterly images that range between abstract and realistic representations.

2. Creating a social and historical context for painting through slide presentations, studio visits and museum critiques:
a) Slide presentations: students will be asked to consider the concepts of their creative projects in relationship to paintings by historical and contemporary artists in order to understand the ways in which the two-dimensional aspects and various processes of painting convey meaning.
b) Studio visits: Students will visit the personal studios of local painters to learn how professional artists develop best practices as related to the basic approaches to painting outlined above. Additionally, they will explore and discuss with these artists the concepts expressed in their painted images.
c) Museum critiques: Museum visits will enable students to learn how to engage and respond to actual paintings as compared with those that they experience as slide and book/journal reproductions. The role of museums and galleries in exhibiting paintings will also be discussed.

Grading and evaluation:
Students’ painting projects will be evaluated according to the following criteria: 1) the uniqueness of the visual concepts developed in their studio assignments; 2) the strength of their visual compositions-their ability to communicate concepts clearly; 3) the quality of their craftsmanship-an effective use of materials and procedures and commitment to the studio assignments-the effort expended on each project; 4) Their willingness to participate in critique sessions-a thoughtful and informed interpretation of visual ideas in paintings produced by them in class as well as those discussed during slide presentations, studio visits, and museum critiques.

General Education: GA
Diversity: None
Bachelor of Arts: Arts
Effective: Fall 2004

Note : Class size, frequency of offering, and evaluation methods will vary by location and instructor. For these details check the specific course syllabus.