Part 1 – Discussion of Action Research
Action research can be described as a methodical and self-reflecting review conducted in order to “understand, improve and reform practice” (Klein, 2012, p.1, as cited in Cohen, Manion, & Morrison, 2007, p. 297). It is an empowering bottom-up approach that can generate new ideas over time by keeping daily notes in a reflective journal. According to Klein (2012), “Action research has become a viable way for educators to not only examine what is, but to imagine what might be possible”(p. 3).
Action research is a rigorous yet rewarding process in which the educator, in reflection, allows “for the emergence of a research topic”(Klein p.5). Next, a review of the available literature on the topic is conducted, often beginning with a basic Internet search. Some sage advice to keep in mind while conducting the review comes from Keifer-Boyd (2014), “When you find multiple authors mentioning the same source, it is a signal to you to read it” and in my opinion most importantly, “seek critiques of the source” (Keifer-Boyd, 2014 in M.L Buffington & S. Wilson McKay Eds. 2014 p. 248). A research paradigm that guides the conduct of the inquiry should be established. As a working artist, I am most interested in the Arts-based category of qualitative research noted in Klein (2012, Table 1.1 p. 9). Echoing the sentiments of Smith (2013), “my painting practice provides me with the space to think through the complexities” (Smith, 2013, Rae kit te Rae/Face to Face [Exhibition Essay]). I am looking forward to further examining these methodologies in Exploration 2. Finally, the research is presented. Much like Smith’s Rae ki Te/Face to Face (2013), I am interested in the research presentation as an artwork, exhibit or installation.
Keifer-Boyd (2014) notes, “Inherent to action research are concepts such as situated learning in socioconstructivist art classrooms (Pitri, 2006), reflective practitioners (Suter, 2006), community of practice (Wenger, McDermitt, & Snyder, 2002), and change agents (Nolan & Putten, 2007).” (Keifer-Boyd, 2014 in M.L Buffington & S. Wilson McKay Eds. 2014 p. 246) Of these, change agents caught my attention. I found myself questioning the inherent risks of effecting change in a classroom. Most notably, what effect those changes will have on the students. This begs the question, should the students be made aware of your action research? And if so, do you ask the students to be a part of the evaluation process?
References
Keifer-Boyd, K. (2014). Critical action research activism: Social structure and human agency. In M. L. Buffington & S. Wilson McKay (Eds.), Practice theory: Seeing the power of teacher researchers (pp. 246-251). Reston, VA: The National Art Education Association.
Klein, S. (2012). Action research: Before you dive in, read this! In S. Klein (Ed.), Action research: Plain and simple (pp. 1-20). New York, NY: Palgrave.
Smith, H. (2013). Rae ki te Rae/ Face to Face [Exhibition essay].
Keifer-Boyd, K. (2014). Critical action research activism: Social structure and human agency. In M. L. Buffington & S. Wilson McKay (Eds.), Practice theory: Seeing the power of teacher researchers (pp. 246-251). Reston, VA: The National Art Education Association.
Part 2 – Visualization- What do you envision you will do for action research?
I visualized myself preparing for a short-term teaching residency in a high school or art center environment. I am focused on translating my experience as a professional artist with an intensive full-time studio practice into projects that reflect that practice in collaboration with students. The space is a large studio-like room with high ceilings and a concrete floor. There are three large worktables spread throughout surrounded by stools. A wall of windows floods northern light on to plentiful adjacent white wall space. Various forms of art media and tools are easily accessed, abundant and organized. The stools are filled with a small group of 17-22 year old, highly diverse students. All are English speakers, but some are bilingual or multilingual with English as their 1st, 2nd or even 3rd language. Both sexes are represented equally and all gender identifications are openly acknowledged. I am talking and listening, real conversational engagement. I am laughing to break down barriers. I am questioning and observing to learn more about each student’s mind-set, background, interests and abilities. Most importantly, I am making art too. Paying close attention to communication and student confidence is vital. Also, focusing on creating a project that is inclusive of individual input and conceptually ties each individual project, including my own, into a comprehensive final work is the goal. In order to accomplish this, I recognize three things that are important to my professional identity in this context. One, maintain the role of mentor while proposing that we are all artists working in collaboration and thus equal. Two, be an active observer in response to intellectual, social and physical diversities as they arise. Last, continue to learn and inform my own art practice in order that it will reflect back on my practice as an educator.
Metaphorical Researcher Identity
I choose to imagine myself as the fictional DC comics hero, The Atom. The Atom is a comic-book character gifted with the abilities of sub-atomic miniaturization and genius-level intellect. The Atom is constantly learning and is a leading mind in some of the most progressive areas of scientific thought and inquiry. The Atom’s powers and abilities translate well when exploring my research identity. The character is able to miniaturize to sub-atomic levels. In some stories, he literally enters the brains and blood streams of other characters. Of course, this metaphorically translates into “getting inside their heads” to get a better understanding of each student. It can also be translated as “shrinking down to their size”. There are three ways to look at this “shrinking down” approach. First, intellectually, by understanding the depth of thought of each student and promoting deeper meanings within each particular context. Next, physically, by taking non-aggressive physical positions when interacting. For example, sitting face to face or next to the student while examining their work rather than standing and looking over their shoulder. Last, socially, by taking into consideration, age, race, gender, and cultural differences when interacting with each individual.
The Atom’s other ability/power is that he has genius-level intellect. He is a life-long knowledge seeker and innovator in science and technology. This translates to my identity as a constant learner striving to better understand the most progressive areas of artistic and pedagogical thought and inquiry as they relate to both my art and education practices. And, how those two practices can inform and improve each other.
Speculative Narrative
I had been asked to create and teach a two-week artist residency project at a local high school. In my previous experience, I had worked exclusively with the “portfolio prep” students. These students were preparing to attend an art school, college or university to study art in some capacity and are the best and brightest in the art program. It was also a small, cohesive group that had known each other and each other’s work for some time. However, this time I will be working with several classes ranging from basic drawing and painting courses up to the advanced art school bound students. A central tenet of my teaching philosophy is collaborative mentorship. I like to create projects that initiate on an individual level but culminate in one collaborative piece. I include myself in the process and work along side the students. The project details were set. Each student would gather three objects. They would photograph, find photographs or draw the following objects: an object that represents you, a random object you are drawn to, and an object belonging to someone who has influenced you. Ultimately, these three objects would be combined visually to create a personal narrative.
Research Journal, Day 2 Artist Residency…
Day 1 was just an intro and today the real work began. The higher-level students have taken to this concept with ease. I left it open to them to determine what medium to use. Most have chosen a multi-media approach. I have been working on my own piece, as usual, and have adopted the multimedia approach as well. On the other hand, and for the sake of example, the Drawing 1 class is struggling. There a few students who struggle with the age old, “this doesn’t look anything like the picture, so it’s no good” situation. For others, the concept of juxtaposing the images to create narrative is scary and confusing and hard to conceive with just a pencil. The former was handled with relative ease as I showed examples of “famous” artists whose drawings were far from realist. The latter on the other hand, has me stumbling and pondering some of the social issues that may arise during the course of the project. A personal narrative is just that, personal. So, I am concerned that some students may be reluctant to reveal things about themselves. Also, in my role as collaborative mentor, I must recognize this issue on a student-by-student basis and guide each accordingly. As far as execution with just a pencil is concerned, I plan to start a second piece with just pencil to give them an idea how I would approach it. Finally, in trying to solve my problem of one final collaborative piece, I am considering a curatorial solution. The project will culminate in a group exhibit with the working title, “This Is Us”. However, due to the personal nature, I am considering the possibility that inclusion will be voluntary. Let’s see what tomorrow brings…
I think out of all of the questions I’ve read, your questions about whether or not the students should be made aware of your research and be included as part of your evaluation process are the most perplexing…because I can see definite value on both ends. Blind studies are great…but so are participatory studies. If they are aware of your research, even just vaguely, they can probably anticipate the responses you would like or not like…which could affect the results. If they aren’t aware of the study, you may not have responses influenced by your desired feedback…but you may not benefit from the open feedback that occurs throughout the process, which could redirect your research or next steps.
The other reason this resonates so much with me is that I currently embarked on an action research project of my own…investigating gamification strategies and how they could be used in the art studio (high school) as a way to help engage students more deeply and motivate students to try things or push themselves in ways that they may have tried to avoid otherwise. I briefly considered NOT informing my students that this was part of a research strategy because I wanted to see the blind results…however, because I am trying something new, I wanted to have them involved in the process of helping develop a classroom gamification system in the ceramics studio that really did speak to them and address their interests while pushing them to engage in the arts more and try more challenging things. I wanted their feedback, and told them the rules of the game could change at any moment because it’s in “trial mode,” and that they are a part of my design process…so their honest feedback and suggestions are greatly appreciated, because it could become a part of changing things for the better.
And when you brought up that question…I had flashbacks to that moment and started thinking, “Uh oh…what if that WASN’T the best approach? I can’t go back and undo that…what if my results are affected because students are reacting the way I expect or hope them to react…or vice versa…if they react to produce the response they believe would be least desirable…is my study now ruined? Is it no longer valid? Did I make a very stupid decision without realizing it?”
Haha…I mean, either way, I can’t go back…so I guess in this particular case, I’ll embrace the students’ awareness and take whatever feedback they can give me 🙂
I think it’s great that you want to use your studio practice to inform your residency and research. That sounds like a wonderful way to share your experience and knowledge with students while also being able to conduct your own research along the way. I received my BFA and Art Ed degrees concurrently and often pulled from my art studio interest when preparing lessons for the classroom. I think students really respond to teachers who bring contemporary practices into their lessons and sometimes what the students would come up with influenced my art making as well. There is nothing quite like having a room of artistic minds churning and creating all different types of work to help inspire you.
Lance-
“I found myself questioning the inherent risks of effecting change in a classroom.” I see this question popping or at least mentioned in a few other blogs and I have to say I have thought about it as well. I think it depends on the level and and how will you get the most effective results. I think that older students may be real assets to your study where as more of an observational approach for younger students. I do think you may have some students not as willing to open themselves up like you are asking, that may take a little finesse on your part. I think it is a great idea and would love to see the final result of the culminating project, I expect it will be very powerful and rewarding for all.