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

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Arts Based Educational Research Project Artful & Design thinking integration: a marriage Abstract Art and design are assumed by many to be separate in nature. While design is often misunderstood as a problem-solving process without passion and emotion, art is sometimes viewed as a privileged field limited to those who have talent. But is this boundary between them real? Is this boundary helpful to students' learning and the entire art education field? My experience as an artist as well as a designer is telling me the opposite. This research project is developed to investigate the feasibility and methodology of art-design integration. As an art-based research, this project draws largely from my experience as a design student and an art student, and how these two fields inspire each other throughout my schooling life. This research proposes a hypothetic framework of art-design integration for all art educators to discuss, to be inspired, to utilize and to criticize. Written to add to the body of Art-based educational research as well as STEAM, it aims to attract the attention of art educators and policy makers to promote the idea that art integration should not only happen between art subjects and another 'core subjects,' but also be implemented within the arts disciplines. In addition to promoting for the potential of art-design integration, I encourage arts teachers to develop integrated teaching content that triggers students' emotional engagement, as it is a crucial element to creating a meaningful learning experience. Key words: art integration, artful thinking, design thinking, personalised learning, a/r/tography. Chapter one STEAM and Art integration, yes, but what’s more? (1200) “Every house on every street is a marriage of the arts as well as mathematics, science, social studied and language arts” (Vena, 1992) In 2015, Education Council of Australia published the National STEM School Strategies. STEM (science, technology, engineering and mathematics) was the result of widespread concern about Australia's performance in STEM disciplines and its impact on Australia's international competitiveness. However, an equally important challenge raises for STEM education, which is to equip young Australian with capability to become critical consumers, creative and ethically astute citizens, innovative designers, good communicators and collaborative decision-makers (Taylor, 2016). This is where Arts is believed to be the solution, as it can be combined with STEM to form STEAM, to produce a multi-literate citizenry and workforce for the 21st century.

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Page 1: Arts Based Educational Research Project€¦ · integrate artful thinking routines (which I did not realize at that time) into design process, I was able to produce a product that

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.

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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.

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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

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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.

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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).

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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.

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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.

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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

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Appendix1:Art-designintegrationmap

2:Sixartfulthinkingdispositions(Tishman&Palmer,2007)

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3:listingsharedideasofartanddesign

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4:HaveIexperiencedanyformofcurriculumorartintegration

5:‘whatisameaningfullearningexperiencetome?’

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ReferenceBautista,A.,Tan,L.S.,Ponnusamy,L.D.,&Yau,X.(2016).Curriculumintegrationinarts

education:Connectingmultipleartformsthroughtheideaof‘space’.JournalofCurriculumStudies,48(5),610-629.

Bequette,J.W.,&Bequette,M.B.(2012).APlaceforARTandDESIGNEducationintheSTEMConversation.ArtEducation,65(2),40-47.

Bray,B.,&McClaskey,K.(2013).AStep-by-StepGuidetoPersonalizeLearning.Learning&LeadingwithTechnology,40(7),12-19.

Burnaford,G.,Brown,S.,Doherty,J.,&McLaughlin,H.(2007).ArtsIntegrationFrameworks,ResearchPractice».Washington,DC:ArtsEducationPartnership.

Davis,M.(1998).Makingacasefordesign-basedlearning.Artseducationpolicyreview,100(2),7-15.

Parsons,M.(2004).Artandintegratedcurriculum.Handbookofresearchandpolicyinarteducation,775-794.

Taylor,P.C.(2016).WhyisaSTEAMcurriculumperspectivecrucialtothe21stcentury?,ResearchConference2016.

Tishman,S.,&Palmer,P.(2007).Worksofartaregoodthingstothinkabout.Evaluatingtheimpactofartsandculturaleducation,89-101.

Vena,D.(1992).Integratedartseducation:amarriage.AustralianArtEducation,15(3),18-23.

Viktor,L.(1950)'TheMeaningofIntegrationforArtEducation,"ResearchBulletin,EasternArtsAssociation,VoLI,No.1,April,