arts based educational research project€¦ · integrate artful thinking routines (which i did not...

ArtsBasedEducationalResearchProject

Artful&Designthinkingintegration:amarriage

AbstractArtanddesignareassumedbymanytobeseparateinnature.Whiledesignisoftenmisunderstoodasaproblem-solvingprocesswithoutpassionandemotion,artissometimesviewedasaprivilegedfieldlimitedtothosewhohavetalent.Butisthisboundarybetweenthemreal?Isthisboundaryhelpfultostudents'learningandtheentirearteducationfield?Myexperienceasanartistaswellasadesigneristellingmetheopposite.Thisresearchprojectisdevelopedtoinvestigatethefeasibilityandmethodologyofart-designintegration.Asanart-basedresearch,thisprojectdrawslargelyfrommyexperienceasadesignstudentandanartstudent,andhowthesetwofieldsinspireeachotherthroughoutmyschoolinglife.Thisresearchproposesahypotheticframeworkofart-designintegrationforallarteducatorstodiscuss,tobeinspired,toutilizeandtocriticize.WrittentoaddtothebodyofArt-basededucationalresearchaswellasSTEAM,itaimstoattracttheattentionofarteducatorsandpolicymakerstopromotetheideathatartintegrationshouldnotonlyhappenbetweenartsubjectsandanother'coresubjects,'butalsobeimplementedwithintheartsdisciplines.Inadditiontopromotingforthepotentialofart-designintegration,Iencourageartsteacherstodevelopintegratedteachingcontentthattriggersstudents'emotionalengagement,asitisacrucialelementtocreatingameaningfullearningexperience.Keywords:artintegration,artfulthinking,designthinking,personalisedlearning,a/r/tography.ChapteroneSTEAMandArtintegration,yes,butwhat’smore?(1200)“Everyhouseoneverystreetisamarriageoftheartsaswellasmathematics,science,social

studiedandlanguagearts”(Vena,1992)

In2015,EducationCouncilofAustraliapublishedtheNationalSTEMSchoolStrategies.STEM(science,technology,engineeringandmathematics)wastheresultofwidespreadconcernaboutAustralia'sperformanceinSTEMdisciplinesanditsimpactonAustralia'sinternationalcompetitiveness.However,anequallyimportantchallengeraisesforSTEMeducation,whichistoequipyoungAustralianwithcapabilitytobecomecriticalconsumers,creativeandethicallyastutecitizens,innovativedesigners,goodcommunicatorsandcollaborativedecision-makers(Taylor,2016).ThisiswhereArtsisbelievedtobethesolution,asitcanbecombinedwithSTEMtoformSTEAM,toproduceamulti-literatecitizenryandworkforceforthe21stcentury.

LongbeforeSTEAM,therehavelongbeenadvocatesforartseducationinthepublicschools(Burnaford,Brown,Doherty,&McLaughlin,2007).Artisbelievedtobeabletoequipstudentswithliquidskills,whichincludetheabilitytoworkwithotherscollaboratively,toactivelylearnandlistenusingcreativeandcriticalthinking.Moreimportantly,itenablesstudentstohavemulti-perspectiveworldviewsinthisculturallydiverseworldandtodevelopamoralconscienceabouttheimpactoftheirplanetaryfootprint(Taylor,2016).Tomakeitsoundsevensimpler,wecanarguethattheartclassisperhapsoneofthefewplacesinschoolorsocietywherewidelydivergentoutcomesareencouraged,andthereisnostrictruletobefollowed.TheideaofintegrationbetweenartsandSTEMsoundshelpfulandfullofpotential,butitsestablishisnotaneasytask.Beforeansweringquestionofwhatisartintegration,weneedfirsttoaskwhatiscurriculumintegration.Rootedfromprogressivismandconstructivism,curriculumintegrationreceivedincreasingattentionforbeinglearnercentered(notdiscipline-centred)andfocusingontheideasthemselvesratherthanondiscipline(Bautista,Tan,Ponnusamy,&Yau,2016).Itallowsstudentstofindtheiridentitiesthroughexploringtheirinterestsandtoconnectexperiencewithdifferentsubjectstocreatenetworksofinterdisciplinaryrelationships.Nowlet'sgetbacktoartintegration.Currentinterestinartsintegrationhasnotappearedtoproduceauniversallyhelddefinitionoftheterm(Parsons,2004).InthearticleofBurnafordetal.(2007),authorscreatethreecategories:artsintegrationaslearning"through"and"with"thearts;artsintegrationasacurricularconnectionsprocess;andartsintegrationascollaborativeengagement.Asana/r/tographer,Iresonatemainlywiththefirsttwocategories,whichputemphasisonexternal/internalconversationofstudentsandbigideas.Inchapter3,IwillexplainhowIusethesetwofeaturestoconstructmyartintegration,model.In"TheMeaningofIntegrationforArtEducation,"ViktorLowenfeld(1950)indicatesthatthesingleelementstobeintegratedwilllosetheiridentityandunitetoanew,inseparableentity.Forartintegrationusers,Ibelieveitisimportanttodistinguishtheterm‘integration'with‘correlation.'Theterm"correlation"impliesthatarelationshipisestablishedinwhichseveraldisciplinesexistonanequalbasis(Vena,1992).Theproblemwithcorrelationliesintheimplementationofitspractice,astwosubjectareasareveryoftennottreatedasequallyimportant,withoneofthemsacrificedinqualityandonlyusedtoassisttheother.Frommyexperienceasateachercandidate,Iobservedsomeoftheintegrationfailuremoments.DuringaJapaneselesson,studentsweresimplytoldtodrawJapanesecharactersusingvisualartsskillssuchascroppingandcoloring.TheelementofVisualArtswasusedatasuperficiallevel,andstudentswereconfusedaboutthepurposeofdoingtheactivity.Artintegrationbecomestokenisminsuchcontext.Inthisproject,IdonotwishtorepeatthepowerofartssubjecttosupportSTEMsubjects.Rather,Iadvocatethevalueofartssubjectsthemselves.ArtsshouldnotbeconsideredonlyasanentrywayforstudentstoimproveSTEM,butmoreimportantly,asanendgoalthatbringscreativity,higherorderthinking,sensoryawareness,andmanyothercultural,socialandeconomicbenefits.

Butwhatispreventingthevalueofartstobefullyappreciated?Basedonmyexperienceasanartstudent,Iproposeseveralpossiblereasonsfrommyobservationofartsclasses,withinartsteachercommunityandcurrentartsfields.First,asmarginalizedsubjectsinthecurriculum,thetimeallocatedforartssubjectsisoftenlimited.Inoneofmyplacementschools,studentslearnoneartssubjectperterminyeartohaveageneralunderstandingofthemall.Hence,eachartssubjectisisolated,andstudentscaneasilyforgetaboutitsknowledgeandskillsoncetheymoveontothenext.Second,duetothewiderangeofartsubjects,itcouldbehardforartteacherstocollaborateastheyarenotfamiliarwitheachother'sdisciplinaryknowledge.Forinstance,intheschoolwherethereisonlyonedramateacherandoneVisualartteacher,itisunlikelyforthemtofrequentlycommunicateandsupporteachotherregardingpedagogyandcurriculum.Thisleadstothethirdreason.Theboundariesamongartssubjectsareoftendistinct.Students'conceptionof‘designisjustdesign'and‘dramaisjustdrama'dividesartsintosmallandseparatedomainsoflimitedimpact.ThisnotionisfurtherstrengthenedwhentheystepintoVCEwherethereismerelyinterdisciplinaryrelationshipamongartssubjects.Standingfromtheperspectiveofanartsstudents,anartsteacher,andanartist,thesereasonspreventstudentsandeventeachersfromseeingartssubjectsasapowerful,inter-connectingwhole.Thisprojectaimstobreakthismisconceptionbyproposingtheideathatcurriculumintegrationcan,andmusthappenwithinartsforartstobeappreciatedandvalued.ChaptertwoArt+Design:1+1>2Artanddesignareassumedbymanytobeseparateinnature.Whiledesignisofteninterpretedasproblem-solvingprocesswithlittlepersonalemotion,artissometimesviewedasaprivileged,mysteriousfieldlimitedtothosewhohavetalent.Whenyousearchfor"thesimilarityofartanddesign,"thefirstthingcomesoutGoogleis"thedifferencebetweenartanddesign."Anothertypeofmisconceptionseesdesignasasub-domainofart.Davis(1998)pointsthatthenotionofdeignbeingasub-disciplineofthevisualartsandabodyofknowledgealreadyaddressedinthetrainingofartteachersiscommonlyencounteredbydesigneducators.Thegoalofdesignisrarelyaestheticandfunctionalonly.Featuressuchasculturalpositioning,cognitiveaffordance,technology,economicappropriatenessmakedesigneducationfarmorecomplicatedthanthoseassignedinavisualartsclassroomconductedbyuntrainedartteachers.Usedtobeadesignstudentmyself,Iagreedwithsuchmisconceptions.DuringthefirstseveralyearsofmystudyofIndustrialdesign,Ibelievedthatdesignispurelyaboutfollowingthedesignprocesstomeetclients'request,andthereisnoneedtolearnarttobecomeaprofessionaldesigner.However,Inowbelievethatagooddesignerisalsoagoodartist.Thistransitioncomesfrommyexperienceofcompletingmygraduationproject.MygraduationprojectwasdesignedforsomeoneIlove,anditwasthefirsttimeIdedicatedallmypassionandemotionsintoadesign.Itriedtoimmersemyselfintotheemotionofthe

targetaudience,andthereweresomanyinspirationstriggeredfromtheseemotions.Forthefirsttime,Irealizedthatgooddesignisemotional.It'snotaproductoflogicaldesignprocessonlybutneedsthedesignertodrawonhisexperienceandfeelingsbyopeningallthesensoryandfullyimmerseintotheproject.Artfulthinkingprovidessuchopportunity.Byintegrateartfulthinkingroutines(whichIdidnotrealizeatthattime)intodesignprocess,Iwasabletoproduceaproductthattriggersemotionandresonance.LaterwhenIenteredmaster-levelofstudy,Ineededtoquicklyfamiliarizemyselfwithart.Havingreceivednotrainingfromfineart,Ioftenstruggleinartsubjects.However,asIkeptusingdesignthinkingtostructuremystudyandtoself-drivemyartlearning,Igraduallygainconfidenceindoingart.Lookbacktomytertiaryschoolingyears;itwasclearthatthedesignthinkingprocesssavedmefromdrowninginanunknownfield,whileartfulthinkingexpandedmydesignvision.Mybeliefthatartanddesignareinseparabledoesnotstandalone.InBequetteandBequette(2012)'sarticle,theyarguethatartisconcernedwithfindinganswerstoproblemandseekingvisualsolutionusingthedesignprocess.Theyalsoarguethatteachdesigninartclassroomsisasmuchasbusinessofarteducationasteachingtheartisticandcreativeprocess,andthiscommunicatingthisinclusiontoteachersfromotherdisciplinesopenuppossibilityforinterdisciplinarycollaboration.Forinstance,keyfeaturesofdesignprocesscanbefoundinengineeringeducation,andbothartandengineeringeducationlendthemselvestoproblem-basedlearningthatdevelopshigherorderthinkingskills(Bequette&Bequette,2012).Myprojectishencedevelopedtoinvestigatethemethodologiesofestablishingart-designintegration.Iwouldliketousetheequationof‘1+1>2'torepresentmyhypothesis,asIbelievethatsuchintegrationcanbefarstrongerthanthesumofthesetwosubjects.Infact,adoptingcurriculumintegrationwithintheartseducationisnotanewly-inventedtopic.Inthearticle‘Curriculumintegrationinartseducation:connectingmultipleartformsthroughtheideaofspace,'Bautistaetal.(2016)justifyforartintegrationwithinartseducationforseveralreasons.First,thecontemporaryartisticpracticein21stcenturyhasblurredboundariesbetweendifferentartsforms.Hence,schoolsneedtoprovidestudentswithmoreauthenticlearningexperiencethatissimilartowaysartistswork.Second,thisapproachallowsstudentstolookattheartsmorecomprehensively.Finally,itprovidesartteacherswithchancestointeractandlearnfromtheircolleaguesaswellaswithpracticingartists.Ibelievethatthesebenefitscanefficientlyaddressthemisconceptionmentionedpreviouslyinchapterone.ChapterthreeResearchmethodandoutcomeBautistaetal.(2016)arguethatthehighestlevelsofintegrationareachievedwhencurriculumisorganizedaroundbigideasandwhenstudentsareprovidedwithopportunitiestoestablishconceptualandprocessconnections. ThemethodologyIusedtoconductmyresearchwasinspiredbyEllis(2005)’sfourstepprocedurefordevelopingintegratedinstructionalunitsfocusingonbigideas.

Ellis(2005)indicatesthatthefirststepisforteachersofdifferentsubjectmattersworktogethertofindathemethatiscentraltoalltheircorrespondingdisciplines.Luckilyforme,IhaveknowledgeinbothareassoIcandesignaunitplanonmyown.ThecentralthemethatIwouldlikedelivertostudentsistheideathatartanddesignarenaturallyintegratedandinseparable.Iwantmystudentstoseethepowerofintegratedartanddesignthinking,andtobeabletouseitefficientlyandappropriatelywhenevertheyaredoingartordesignwork.Steptwoistoanalysetherelationshipsamongthedifferentdisciplinestoidentifysharedconceptsandprocesses.Ratherthanlookingforthesharedcontentorskills,Ichoseartfulthinking1anddesignthinkingtobethecentralconceptsbecausetheyarebothpowerfulintermsoftriggeringhigher-orderthinkingandmakingthinkingvisible.Also,frommyownexperienceofusingthesetwothinkingmodes,theybothrequirestheusertodrawfromhisownexperienceandemotions,whichisacrucialstepwhenmakingartordesignworks.Inappendixthree,itshowstheprocessofmelistingdownelementsofartfulanddesignthinkingandtryingtobuildconnections.Step3referstoestablishingguidingquestionstoprovidethecurriculumwithacoherentstructure.Someofthequestionsaskedinthisstepinclude:1)Whatwouldstudentlearnthislessonandhowthatcontributetothelearningobjectives?2)Whereshouldeachlessonlocateintheunitsothattogethertheyformacoherentflow?3)Isthislessonnecessarythatitmustbeincludedinsuchalimitedtimetable?Whyorwhynot?4)whatmightbetheobstaclesforthislessontobefunsmoothly?Thefinalsteprequiresteacherstochooseordesignactivitiesmeaningfultostudents,whichallowsthemtoanalyse,exploreandexperimentconnectionsamongmultipledisciplines.Thetopicofthisunitis‘voicetotheworld,'whichrequiredstudentstoexpresstheirvoicestothesocietybyproducingartanddesignworksofvariousforms(sculpture/installation/graphicdesign).Inthisstep,Icontextualizedselectiveartful/designthinkingandskillstoservethepurposeofthetopic.TheproductIproduceforthisprojectisamap(seeappendixone).Themaprepresentsaunitplanfora12-weektermdesignedforyeartenartsstudents.Itdemonstratesmywayofintegratingartanddesigninartsclassrooms.Fromthemap,itcanbeseenthattheentireunitisdividedintothreestages:artfulthinkingstage,designthinkingstage,andpersonalisedlearningstage.Withineachstage,maincomponentsofteachingareexplained.Atthebeginningoftheunit,studentsareguidedtodevelopartfulthinkingdisposition.Instageoneofthemap,selectiveroutinesareappliedtodevelopstudents'thinkingdepositions.Insteadoflettingstudentsstartdesigningtheirconceptstraightaway,stageoneprovidesthemwithopportunitiestodigin-depthandauthenticconceptbydrawingfrompastexperience.Thedevelopmentofartfulthinkingdispositionalsopreventsstudents

1Theterm‘artfulthinking’usedhereisdevelopedbyHarvardProjectZeroincollaborationwiththeTraverseCityAreaPublicschools.ProjectZero,whichadvocatesforteachingthinkingfromadispositionalapproach.Therearetwofoundationalcomponentsofartfulthinking:thinkingdispositionsandthinkingroutines.Thinkingdispositionistheabilitytorecognisemultipleperspective,themotivationtouseone’sabilityregularlyandsensitivitytodetectandengageinopportunities(Tishman&Palmer,2007).Artfulthinkingroutines,ontheotherhand,areactivitiesusedtodevelopsixdispositions(seeappendixtwo).

fromlimitingtheirideaintocertainviewpointorideastoosoonbeforetheyhavedoneathoroughinvestigationandexperimentation.Instagetwo,studentsareintroducedtodesignthinkingandtechniques.Besideproducinganartworktobeexhibitedattheendoftheterm,theyalsoneedtoplantheenvironmentsettingfortheirartworksandproducevisuallycommunicativedesigntoadvertisefortheirexhibition.Thisstageaimstohelpstudentstoseethattheyneedtoconstantlyswitchbetweentheirartistanddesigneridentitiestoproduceanemotionallyandvisuallypowerfulpiece.Instagethree,studentsareencouragedtofreelyusethethinkingorskillslearnedintheprevioustwostagestoself-guidetherestoftheirprojectsprocess.BrayandMcClaskey(2013)suggestthatpersonalisedlearningoccurswheninstructionispacedtolearningneeds,tailoredtolearningpreferenceandspecificinterestofdifferentlearners.Itrequiresstudentstobecomeself-directedlearnerswhomonitorprogressandreflectontheirlearning.Toachievepersonalisedlearninginstagethree,teacherneedstopreparetheirstudentstobecomeindependentlearnerswhobuildnetworksofpeers,teachers,andexpertstosupporttheirlearningcollaborative.Henceinpreviousstages,studentsarefrequentlyencouragedtocollaboratewithpeerstoseekfeedback,resourcesandsupport.Asyoumaynoticeinstageoneandtwothatsomeoftheartfulthinking/activitiesalsoappearinthe‘designweek'andviceversa.Thisshowshelpsstudentstorealizethatitisimpossibletodrawdistinctlinebetweenartmakinganddesignprocess.Chapterfour:Datacollectionandanalysis:whatisachievedandwhat’snot?WhenIfirststarteddoingtheresearch,IknewthattheoutcomeofmyresearchwouldbeaunitplantodemonstratehowIwouldconductartintegrateintomyclass.IstartedlookingatwhichtwodisciplinesIcanintegratewith.ButsoonIrealizedIwasonlylookingforsharedskillsandteachingcontentratherthanbigideas.Thiswouldleadtoacorrelationinsteadofintegration,astheteachingoftwodisciplinesdoesnotshareacommongoal.Therefore,Iwentbacktothestartingpointandaskedmyselfthequestion:HaveIexperiencedanyformofcurriculumorartintegration(seeAppendix4)?Ifyes,whatdidIfeelaboutitandwhyisitmeaningfultome?IsoonrealizedthefactthatIwasactuallyintegratingtheskillsfrombothartanddesignfieldswhenbecominganartist,adesigner,andana/r/tographer.Thisdiscoveryinspiresmetothinkabouttheintegrationwithinartsfields.AnotherquestionIaskedmyselfwas‘whatisameaningfullearningexperiencetome?'.Drawingfrommyownexperienceasastudent,Ilisteddownalltheanswers(seeAppendix5)andstartedtothinkaboutintersectionofart,designandmeaningfullearningexperience.Aspreviouslymentioned,Irealizedthatthekeytounlockingallthreefieldssimultaneouslyis‘emotion,'aslearningexperiencemeanssomethingtomeonlywhenIinputmyemotionsandpassion.Thesetwoquestionsplayedapivotalroleregardingguidingmyresearchdirection.Tome,thisreflectsthefactthatart-basedresearchisaninside-outprocess.

WhenIdesigntheunitplan,Iencounteredseveralobstacles.First,duetothelimitedtimeline,Ineedtobeveryselectivewhenselectingskillsandactivitiestobetaught.Ieventuallychosesculpture,installationart,andgraphicdesigntobethekeyskillsofthisunit.However,thisreflectsacommondilemmainthecurrentschoolcontext.ManyAustralianschoolsprovidevariousartselectivesforstudentstoexperimentwithbeforetheyenterVCE.Inreality,torunatime-consumingintegrationunitlikethis,itmeansthatstudentsmaynotbeabletoaccessallofthedifferentelectivesasintraditionalcurriculum.Moreover,suchintegrationneedstobecarefullystructuredbyartsteachers,meaningthatstudentswilllosetherightsofchoosingtheirpreferredelectives.ThisisanissueIwishtoinvestigateinfutureresearch.Second,althoughIwastryingtoequipstudentswiththinkingandskillsfromfieldssothattheycanbecomeindependentlearnerinstagethree,theweaknessofthismodelcanstillbeclearlyseen.Thereislimitedcontentofdesignexistinartfulweekandviceversa.Onecanarguethatthefirsttwostagesarejustacceleratedcoursesofartanddesignrespectively,andstudentsaresimplyexpectedtobecomeintegratorsthemselvesafterlimitedtimeoftraining.Thus,theintegrationhappensafterthelearningofartanddesign,ratherthanduringtheprocess(whichistheidealsituation).Becausethisunitdesignisbuiltuponmyexperience(whichwasintegrationafterlearning),itisdifficultformetoimageandmodeltheintegrationduringlearning.Chapterfive:discussion&futureimplicationWhenevaluatingthefeasibilityofthisframework,Ifoundanotherissueworthdiscussing.ItisthefactthatwhenstudentsgettoVCE,thereisnointegrationwithinartdisciplines.Ironically,intheF-10visualartscurriculum,itincludesthefieldofart,design,andcraft.ButwhenstudentsenterVCElevel,theycanonlychoosefromart,VCDorstudioart.Tome,thisdeliversthemessagethatstudentsmustmakethedecisionofwhethertheywanttostudyartordesigninfuture.Hence,theintegrationwhichmayhavehappenedinsubjectslikeyeartenvisualartsislikelytobediscontinuedfromthismoment.Itisalsopossibleforthosemisconceptionsaboutartanddesigntocomebacktostudents.Therefore,myconcernisthatevenrealintegrationcanbecreatedandimplementedbeforeVCE,itwillnothaveaprofoundandcontinuousimpactonourstudentsunlesstheVCEcurriculumrecognizesitspotential.Despitethesetwodilemmas,Ibelievethisunitplanisstillpowerfulregardingshowingtheinterconnectingnatureofartanddesign.Thisunitplancanbeusedtoaddressthepreviouslymentionedmisconceptionasitdemonstratestheauthenticartmarkinganddesignprocesswhereartistsanddesignersneedtoapplyknowledgeandskillsoutsidetheirfields.Itprovidesapotentialmethodologyforartsteacherstoreferto,tobuildupon,andtoreflectuponwhendesigningtheirintegrationframeworks.Tomaximizethefullpotentialofthisframework,itneedsmoreaffirmationandsupportfromarteducatorsandpolicymakers.

ConclusionDrawingfrommyexperienceasana/r/tographer,adesignerandastudent,thisresearchprojectpresentsmymethodtointegrateartanddesigneducation.Aimingtounsettlethemisconceptionsthat‘artanddesignhavelittleintersection'or‘designisasub-domainofart,'thisresearchdemonstrateshowartanddesigncanbeintegratedtosupporteachothertocreatemeaningfullearningexperienceandoutcomes.Toadvocateforthepositionofartssubjectsinthecurriculum,Iarguethatintegrationwithinartsdisciplinesneedtohappentobreaktheboundariesamongthemsothatthescopeandpotentialofarteducationareexpanded.Forfuturedevelopment,Iwillcontinueconductresearchofartintegrationtoachievethehigherlevelofart-designintegration,whichisintegrationduringlearning.Althoughtheframeworkproposedinthisresearchstillhasalongwayaheadbeforeitbecomespracticalandinfluential,Ihopethisprojectcanbecomeanexampleforartteacherstorefertowhendevelopingtheirintegration,whetherwithinoroutsideartsdisciplines.LinktomyWeeblywebsite:http://angelaxudesign.weebly.com/research.html

Appendix1:Art-designintegrationmap

2:Sixartfulthinkingdispositions(Tishman&Palmer,2007)

3:listingsharedideasofartanddesign

4:HaveIexperiencedanyformofcurriculumorartintegration

5:‘whatisameaningfullearningexperiencetome?’

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