A Saturday Youth Arts Program:Implications for preservice art education

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Authors Smith, Joy Topaz, 1971-

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300 Noith Zed) Road, Ann Alter MI 48106-1346 USA 313/761-4700 800/521-0600

A SATURDAY YOUTH ARTS PROGRAM:

IMPUCATIONS FOR PRESERVICE ART EDUCATION

ly

Joy Topaz Smith

Copyright © Joy Topaz Smith 1996

A Thesis Submitted to the Faculty of the

DEPARTMENT OF ART

In Partial Fulfillment of the Requirements For the Degree of

MASTER OF ARTS WITH A MAJOR IN ART EDUCATION

In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 9 6

UMI Number: 1383573

Copyright 1996 by Smith, Joy Topaz

All rights reserved.

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2

STATEMENT BY AUTHOR

This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be grjinted by the copyright holder.

SIGNE

APPROVAL BY THESIS DIRECTOR

This thesis has been approved on the date shown below:

Dr. Lynn Galbraith Date Associate Professor of Art Education

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ACKNOWLEDGMENTS

I would first like to thank all of my friends who stood by me throughout the researching and writing of this inquiry, especially Sara Pakkda, who was always there to listen and encovirage me. I also would like to give a special thanks to the Manzanita ISR team: Gloria Hoyme, Andrea Chadwick, Elizabeth McKindley, Char Cohen and Karen Hill who continually bent over backwards to help me accomplish this goal.

Thank you to the wonderful teachers who participated in this study, particularly Caryn Isom, who so graciously gave her time and effort to this project. And to Lou Garard, thank you for trusting in my ability and for sharing with me all of your best teaching secrets. I will use them wisely!

Thanks to Mary Jondrow, Colleen Nichols, James Lanier and Paige Vladich for volvmteering their time and their resources for this study.

I would also like to express my deep appreciation for my two wonderful parents, Paul and Vicki Smith, for whom without none of this would have been possible. Their imdying love and support has given me the strength to accomplish more than I ever though possible.

Finally, thank you to my committee: Dr. Lynn Galbraith, for her trust, her insight and her constant encouragement; Dr. Elizabeth Garber for her willingness to find time to talk, listen and advise, and Dr. Dwaine Greer, for giving me so many opportunities to take on new challenges and for his eternal words of wisdom.

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DEDICATION

I would like to dedicate this work to the one person who has been there day and night throughout this research endeavor. Robert, you have given me endless hours of patience, countless words of encouragement, and six long years of imderstanding. Thank you for all of your help these past months and for continuing to love me in spite of it all.

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TABLE OF CONTENTS

LIST OF TABLES 8

ABSTRACT 9

1. STATEMENT OF INQUIRY 10

Introduction 10 Combining Theory and Practice 12 Wildcat Art: A Rationale for its Implementation 13 Description of Inquiry 15

Program Description 15 Personal Involvement 17 Statement of Inquiry 18

Study Design and Methodology 20 Significance of the Study 22 Limitations of the Study 22 Organization of Chapters 23

2. REVIEW OF THE LITERATURE 24

Orgariization of the Chapter 24 Introduction 24 Classroom Management 26

Preventive Techniques 28 Reactionary Techniques 31

Curriculum and Lesson Planning 32 How Should Preservice Art Teachers Plan? 33 What Should Preservice Art Teachers Plan? 33 Discipline-Based Art Education (DBAE) 34 DBAE: Effects on Teacher Training 36

Commimity Outreach 37 Saturday Art Schools 37 Advocacy 39

Organizational Skills 40 Field Experiences 43

Student Teaching 44 Reflective Teaching 47 Strategies for Teaching Art 48

Aesthetics 49 Criticism 50 Art History 51

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TABLE OF CONTENTS - Continued

Essential Elements of Instruction (EEI) 52 Summary of the Literature 52

3. THE 1995 WILDCAT ART EXPERIENCE 55

Organization of the Chapter 55 Introduction 55 Methodology 56

Characteristics of the Site and Sample 56 The Method 57

Backgroimd 59 Wildcat Art: A Detailed Description of Its Structure 59

Study Results 66 Pre-experience Questiormaires 66 Post-experience Questionnaire 69

Conclusions 71

4. CASE STUDY OF #4 74

Organization of the Chapter 74 Introduction 75 Methodology 76

Characteristics of the Site and Sample 76 The Method 76 Interviews 78 Study Limitations 79

The Case Study 80 Classroom Management 80 Curriculum and Lesson Plaiming 84 Community Outreach 85 Organizational Skills 87

Conclusions 88

5. IMPUCATIONS AND RECOMMENDATIONS 90

Introduction 90 Implications 91 Recommendations For Change 91

Topics for Discussion 92 Mandatory Classroom Observations 93 Development of Committees 94

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TABLE OF CONTENTS - Continued

Conclusion 96

6. APPENDIX A 97 Questionnaire #1 98 Questionnaire #2 98 Questionnaire #3 99 Questionnaire #4 100 Pre-experience Interview 102 Post-experience Interview 106 Final Interview 108 Interview Release Form 108

7. APPENDIX B 112 Public Relations Committee 113 Wildcat Art Site Committee 116 Advertising and Design Committee 118 Community Outreach and Staff Support Committee 120

8. APPENDIX C 122 Plaiming A Discipline-Based Art Lesson 123 Wildcat Art Observer Notes 127 Wildcat Art Discipline Contract 130 Wildcat Art Emergency Form 131 Wildcat Art Release Form 132 1995 Wildcat Art Brochure 133 1995 Wildcat Art Flyer 135 1995 Wildcat Art Information Sheet 136

9. APPENDIX D 138

10. REFERENCES 142

LIST OF TABLES

TABLE 3.1, Completed Educational Requirements

9

ABSTRACT

A supplemental Saturday Youth Arts Program was examined to

determine whether or not its implementation into a preservice art education

program better prepared students for student teaching. This work presents

two case studies. Data from the first study, which looked at sixteen preservice

art teachers, foimd that (1) students lacked adequate knowledge on how to

write discipline-based lesson plai\s; (2) community outreach was undervalued

by students and (3) there was a lack of sufficient preparation time to take on

all the variables involved in operating the lab school. The second study

followed one of the students into her student teaching to look for

professional growth in four areas: (1) classroom management; (2)

curriailiom and lesson plarming; (3) community outreach and (4)

organizational skills. Findings indicated that students can achieve high

levels of professional growth as a result of this kind of experience, thus they

are better prepared for student teaching.

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CHAPTERl

STATEMENT OF INQUIRY

Introduction

The teaching of art is a multi-dimensional skill that requires the ability

to think and act quickly to the rapidly changing djTiamics of the art room. In

its best form this includes the planning of sequential discipline-based (Clark,

Day & Greer, 1987; Greer, 1984), multicultural (Qiamplin, 1995; Chanda, 1992;

Stuhr, Petrovich-Mwaniki, & Wasson, 1992), age-appropriate (Eisner, 1987),

creative, novel, interdisciplinary (Champlin, 1995), collaborative (Champlin,

1995; Zimmerman, 1994a), commimity relevant (Baker, 1990; Day in

Goodwin, 1994) and evaluative (Clark, Day & Greer, 1987; Gentile, 1989; Greer,

1984) curriculimi that can be modified to meet the needs of all learners in the

school. An art teacher must also possess the skills, knowledge and ability

needed to commurucate curricular ideas and concepts to pupils in ways that

create meaningful art experiences. This requires the teacher to be an efficient

classroom manager who clearly outlines and reinforces expected behaviors

and outcomes for each activity in the lesson. He or she needs well-established

classroom procedures for everyday functions like the distribution and the

collection of supplies, and to be able to anticipate and prevent potential

problems before they start (Susi, 1989,1990a, 1990b, 1996).

Added on to these instructional and managerial demands are requests

that art teachers engage in: reflective thinking (Pultorak, 1993; Susi, 1995),

action-research (Galbraith, 1988; May, 1993) and leadership opportimities

(Gupton, 1995; Howey, 1988; Jeffers, 1995). Furthermore, they should be

11

advocates for the arts in their community through workshops, presentations

and regvilar art exhibitions. Efland asserts that in order to remain at the top of

their field, art educators must be life-long learners, continually keeping

abreast of national trends in art education (in Goodwin, 1993).

Art teachers also take on various other roles which require highly

developed interpersonal skills. An art teacher is constantly working

interactively and collaboratively with a variety of people in school settings

during activities like district and site committee meetings, faculty

presentations, bus duty, parent-teacher conferences, open house, talent shows,

plays and other school events. In addition they often become set designers for

plays, display coordinators for the library or office bulletin boards, the resident

artist who comes into the classroom to help with special projects, and the

school's interior designer. Participation in these kinds of miscellaneous

school activities are often perceived as the "what goes without saying" job

requirements of art teachers.

The expectations that befall art teachers on a daily basis raise many

questions about the nature of preservice art teacher education. How can we

better prepare preservice art teachers to take on the disparate responsibilities

of professionals in our field? Do we provide our preservice students adequate

opportunities to integrate university dictated theory with professional

practice? More specifically, how do we give them the skills, knowledge,

values and attitudes needed to teach art effectively? Questions like these

reflect a growing interest in the field on the nature of preservice art teacher

preparation programs (Galbraith, 1990, 1995b; 2^immerman, 1994a).

"Although there is a long and excellent tradition of research in art education.

12

limited studies exist specifically on preservice art education" (Galbraith, 1990,

p. 51). Therefore, comprehensive inquiries into the nature of our preservice

programs seem long overdue.

In partial response to the request of the National Art Education

Association (NAEA) task force on teacher education which calls for research

in preservice laboratory and clinical experiences (Galbraith, 1995a), this paper

describes the preservice art education program offered at The University of

Arizona in Tucson. While degree requirements and general descriptions of

course work are discussed, this inquiry looks specifically at a Saturday Youth

Arts Program. It was initiated in response to reform trends in preservice

teacher education research as well as to satisfy the College of Fine Arts' desire

to create outreach programs that help the university build more interactive

partnerships with the Tucson commvmity. The Saturday Youth Arts

Program, hereafter referred to as Wildcat Art, has since become a vital

component of our preservice program. Demonstrated through the findings

of this inquiry, the Wildcat Art program helps preservice students begin to

form clearer pictures of what art teaching involves and provides them a

much needed opportimity to put theory into practice.

Combining Theory and Practice

Providing meaningful experiences where theory and practice meld in

the minds of preservice art teachers is difficult at best. There is however, a

common belief that the two can and do interact with one another in the day

to day lives of in-service art teachers. Knowing this, how can the interaction

between theory and practice best be shown in preservice art programs? Is it

13

possible to create more field-based opportunities in the imiversity where

theory and practice work together in a mutually interactive relationship?

Nadaner (1983) suggests that "teacher education in the university begins with

the recognition that practice is always permeated by some theoretical

assumptions and that a more deliberate, reflective application of theory can

only improve practice" (p. 66).

In a program like Wildcat Art, students can begin to see connections

between theory and practice when thinking reflectively about their own

teaching of lessons or their observed lessons of peers. "Students thus, have

the opportxmity... to articulate meanings and questions that have immediate

significance for them. These questions can then be related in the university

to treatments of the same questions by art educators and philosophers"

(Nadaner, 1983, p. 68). This is how the Wildcat Art program approaches the

unavoidable collision between the relevancy of imiversity-based theory and

the everyday realities of art teaching in practice.

Wildcat Art: A Rationale for its Implementation

Since preservice teachers leam to teach from their experiences of

actually being there to watch, interact, and make decisions in the classroom, it

seems imperative to provide them these kinds of opportunities during their

preservice education (Britzman, cited in Galbraith, 1995b). Realizing this, the

University of Arizona, like other ii^titutions^ began the Wildcat Art

program. Wildcat Art was designed with the premise that preservice

Buffalo State College, City University of New York, East Carolina University, Indiana University, Purdue University, Nova Scotia College of Art and Design, Perm State & the University of the Pacific, for example, all have either Saturday Art programs or Summer Art programs in place.

14

teachers in art education needed more hands-on interaction with youth and

expanded opportunities to put theory into practice. Its goals are to:

(1) Provide expanded field-based opportunities that meet the needs of our preservice art education students.

(2) Make valuable connections between the university, the schools and the commimity. These connections will provide commimication that may educate, inform and inspire community members to support art education in the public schools.

(3) Provide an opportimity for youth firom differing backgrounds and socio-economic status to come together to share creative ideas and artistic concepts.

(4) Cultivate the youths' kiiowledge in the visual arts, including study in each of the four art disciplines of criticism, aesthetics, art history and studio. The hope is tiiat through this broad, multi­media approach, students will deepen their understanding and appreciation of the arts.

Because The University of Arizona's Art Education Department is

separate from the College of Education, field experiences are difficult to

provide for students. Currently, students working toward their B.F.A. in art

education have their only required field experience^ through course work

taken in the college of education. These experiences are almost exclusively in

secondary schools and are not geared toward the specific needs of the

preservice art education student receiving certification in grades K-12.

Created in the Spring of 1994, Wildcat Art has operated as a three imit

class^ offered to both undergraduate and graduate students seeking their

teaching certification in art. The class takes students through the process of

setting up a lab school including advertising and recruiting youth, finding

2 One semester, consisting of thirty hours of observation at one school site. 3 Wildcat Art is listed in the University of Arizona's general catalogue as ARE 338L: Secondary School Art, and is convened with the graduate course ARE 558L: Theories of Curriculum and Instruction in Art.

15

adequate space to house art classes on The University of Arizona campus,

ordering, inventorj^g and distributing supplies, writing age appropriate

curriculum and comprehensive discipline-based lesson plans, establishing

fair and consistent classroom management plans for each age level and

finally, working collaboratively with their peers in teams to create, teach and

evaluate their lessons.

University students are expected to take the course as a culmination of

their preservice course work. This ensures that they have taken the

minimum of nine credits of secondary education course work which

provides a basic knowledge of general teaching pedagogy, basic classroom

management techniques, lesson and unit planning, as well as educational

psychology and the nature and functior\s of schools in societyIn addition,

they are expected to have completed most of their studio requirements and

nearly twenty credits in art education.

Description of Inquiry

Program Description

The program is led and coordinated by a master teacher who has been

an art specialist in the Tucson eirea for fifteen years. She has designed the

course content from its inception and has worked in collaboration with the

faculty of the Art Education Department to develop a community outreach

program that meets the needs of the College of Fine Arts, the Art Education

Department's faculty and students, Tucson area youth and the greater Tucson

These cotirses are offered in the college of education and are listed in the course catalog as TTE 300: Classroom Processes and Instruction, EDP 310; Learning in Schools and EDUC 350: Schooling in America.

16

commxinity. It hcis continued to grow, and in its third year became a money

making endeavor for the department.

Wildcat Art offers its patrons comprehensive discipline-based

instruction in the visual arts using a variety of two-dimensional and three-

dimensional media. Every lesson taught has instructional time allocated for

each of the four disciplines of art history, criticism, aesthetics and studio. The

youth are broken up into three age groups for instruction. These groups are

referred to as being either Primary (grades 1-3), Litermediate (grades 4-7), or

Secondary (grades 8-12). Each age group has a separate curriculum to allow

for the differing needs of those who are more mature or more highly skilled.

The program, currently offered only during the Spring semester,

consists of 11 two and one-half hour lessons on Saturday mornings. This

permits each grade level 4 five hour lessons and 2 shorter two and one-half

hour lessons. One of the two short lessons is placed in the middle of spring

semester during the University's spring break, and the other is located at the

end of the program. This provides the preservice teachers one off weekend

for spring break. The final Saturday is reserved for a student art exhibition

which displays all the artwork produced in the ten weeks of Wildcat Art.

The classes are instructed by approximately twenty preservice art

teachers. During the planning of the program near the beginning of the

spring semester, the preservice students break up into smaller groups of three

to form teaching teams. These teams work collaboratively to develop and

teach three art lessons; one art lesson to each of the three grade levels. On

Saturdays when teams are not teaching, they are required to observe, evaluate

and assist their peers teach their lessons. This concentration of preservice

17

teachers in each grade level's class provides pupils enrolled in Wildcat Art a

low student-teacher ratio; roughly 6:1.

Personal Involvement

I became involved with Wildcat Art as an imdergraduate in the

program's first year. I felt that as a result of the Wildcat Art experience, I went

into student teaching with six fully developed lesson plans which included

visual displays, supply lists, notes on the design and layout of supply

distribution, charts for time management and activity sequencing, and I had

the experience of having already pre-taught the lessons. In addition, I had an

image of the nature and demands of teaching art and through reflection upon

my early teaching experiences, I knew specific areas I wanted to develop and

refine while student teaching.

When I came back to the department the next year as a graduate

student, I again became involved with the Wildcat Art program. The second

year I worked closely with the instructor as the Assistant Director of Wildcat

Art. From this position, I took on a variety of responsibilities which

included, but were not limited to: (1) facilitating classroom discussions; (2)

evaluating teaching using Madeline Himter's Essential Elements of

Instruction (EEI); (3) providing comprehensive feedback of lessons taught; (4)

giving emotional support to students enrolled in the course; (5) designing the

Wildcat Art logo and distribution materials and (6) supervising and

overseeing the daily operations of the lab school including student drop-off

and pick-up, the health room, staff lounge, three classrooms and a

culminating student art exhibition. Other components of my role as

18

Assistant Director involved assisting preservice teachers with discipline

issues, addressing parental questions and concerns and brainstorming with

teaching teams to find solutions for logistical problems with space, supplies

and/or technology.

Statement of Inquiry

My appreciation of the skills and practical knowledge I learned as a

result of Wildcat Art inspired me to further investigate its installation in our

art education program. Did it help to better prepare preservice students for

their student teaching experience; If so, how? Did it aid in the translation of

theory into practice by providing preservice teachers an image of discipline-

based art teaching? Or was it only a means through which preservice teachers

gained practical experience? What skills, if any, did it develop in preservice

art education students? Specifically, did Wildcat Art increase preservice

teachers' professional knowledge and competence in the areas of: (1)

Classroom Management; (2) Curriculimi and Lesson Planning; (3)

Community Involvement and (4) Organizational Skills? If relative

professional growth in the four areas occurred, did that growth continue or

retard during student teaching? Finally, has the installation of the Wildcat

Art field-experience into our preservice art teacher education program

resulted in better prepared, more competent, and highly skilled professionals?

As beginning art teachers, are our graduates more likely to reach higher levels

of professional development (Kagan, 1992) earlier than they might have

otherwise?

19

In choosing to focus my research around the areas of: (1) Classroom

Management; (2) Curriculum and Lesson Planning; (3) Commimity

Involvement and (4) Organizational Skills, I discovered more questions

which served to further define each area of inquiry. A brief list of questions

for each area is listed below. Often, answers to the questions in any category

could provide insight into the other three areas:

Classroom Management

Was the organization of the lesson and the supplies conducive to

creating an envirorunent that discouraged discipline problems? What

kind of motivation was used to engage pupils in the content or ideas

being taught? Did art education students develop their own

management style?

Curriculum and Lesson Planning

Did lessons build upon prior learning? Were lessons discipline-based?

Were activities and discussions relevant to the lesson's objectives? Did

pupils have an imderstanding of what it was that they were learning?

Were lessons based on an established curriculum? How did individual

lessons fit within a larger curriculum?

Community Involvement

In what ways did preservice students commimicate with parents to

share ideas, inform them of the lesson objectives and/or discuss

discipline issues? Has Wildcat Art helped to foster a better relationship

between The University of Arizona's preservice art teachers and the

commxmity?

20

Organizational Skills

Was time used effectively? How much time was given to each of the

particular disciplines? Were transitions between activities in the

lesson smooth and efficient? How prepared was the teacher to teach

the lesson?

Seeking answers to these and other questions helped to create an accurate

image of Wildcat Art's place in our preservice art teacher preparation

program and how effective it has been in preparing art teachers to meet the

many demands of public school art education.

Study Design and Methodology

To attain some basic information about the students in the class, I

distributed a series of three pre-experience questionnaires and one final post-

experience questionnaire to the class enrolled in the Spring of 1995 (see

Appendix A for questionnaires). These helped me to better assess the

preservice students' diverse interests and learning experiences. After

spending four weeks with the students, I selected^ four of the seven

traditional undergraduate students in which to observe and measure

professional growth in the each four areas discussed earlier: (1) Classroom

M a n a g e m e n t , ( 2 ) O r g a n i z a t i o n a l S k i l l s , ( 3 ) C o m m u n i t y I n v o l v e m e n t a n d ( 4 )

Orgaiuzational Skills. For each subject of study, #1, #2, #3 and #4,1 gathered

materials that would enable me to construct a clear picture of their

pedagogical knowledge, teaching experience and preconceived beliefs of

effective art education in practice. My data consisted of each subject's class

5 The subjects were selected based on my personal assessment of their commitment to the program and willingness to participate in a research study.

21

notes and required journals,® my own personal notes made while observing

the subjects teaching in each of the three grade levels, the observation notes

of the program Director and the required evaluation forms of peers who

viewed the lesson. I then collected from each subject the lesson plan and

related instructional materials for each lesson observed.

In addition, I set up informal pre- and post-experience interviews'' to

more thoroughly investigate my four areas of interest. The pre-experience

interview attempted to assess their preconceptions about the experience, their

ideas about DBAE, their level of education and their individual teaching

philosophies. The post-experience interview asked the subjects to reflect on

the experience and to look for change in their beliefs or ideologies.

From the four case studies, I selected one student, hereafter referred to

as #4, to follow through her student teaching experience.® I observed her four

times during her student teaching and on the final visit to the site, a video

cassette recording of her instruction was made. To support the data collected

on her teaching in the classroom, I was given copies of her lesson plans and

her personal notes. Contact was made with the university student teacher

supervisor who, upon request, made notes during observations with special

attention to #4's skills in each of the four study areas. I also sat in on one

post-observational feedback session between the imiversity supervisor and #4

in which #4 was asked reflective questions concerning her perceived teaching

strengths and possible areas for refinement. The issues from the prior

® Journals were kept eis a part of course requirements up through the ninth week of classes, when the instructor no longer thought they were an essential component to the art education student's education.

Interview questions can be found in Appendix B. ® #4 conducted the student teaching component of her certification requirements in the Spring of 1996.

22

Wildcat Art experience and the student teaching experience were brought

together in a final interview conducted immediately after the completion of

#4's student teaching assignment. I asked questions that looked for relative

professional growth and changes in her beliefs, attitudes and preconceptions

in each of the four areas of interest.

Significance of the Study

Inquiries into the nature of Saturday Youth Arts Programs are rare.

An investigation of their possible benefits to students and departments could

help pave the way for more universities to provide lab school experiences for

their students. Specifically, it provides The University of Arizona's Art

Education Department insight into how the Wildcat Art program functions

within its larger art education curriculum, and provides an opportimity to

further refine its overall program. An examination such as this addresses

several questioris: Can a supplemental program aid in the development of

the professional growth in preservice art teachers? Are students better

prepared for their student teaching experience as a result of the Wildcat Art

program? Does the program effectively provide university students the

opportimity to put theory into practice? Why or why not? What areas of the

program need refinement? Answers to these questions will provide a variety

of implications for art teacher preparation.

Limitations of the Study

The study is limited in its generalizations. It has been conducted at one

southwestern imiversity and discusses only two case studies which caimot be

23

considered inclusive of all students attending this imiversity or any

university since no two experiences can be considered the same. In addition,

there is the possibility of my own bias. My close affiliation with the program

may have altered my objectivity when reviewing the data. It is possible that

another researcher might have interpreted the same information differently

than what is presented here. However, I made an effort to collect data from a

variety of sources so that my personal notes were not the only place from

which asstmiptioiTS and generalizations were made.

Organization of Chapters

Chapter 2 reviews the current literature in the areas of: Classroom

Management, Curricxilum and Lesson Planning, Community Oufreach,

Organizational Skills, Field Experiences, Reflective Teaching and Sfrategies

for Teaching Art. Chapter 3 further describes the Wildcat Art program and

analyzes the research conducted through four questiormaires distributed to

the Spring 1995 participants. Chapter 4 presents the case study of #4 and

analyzes data collected during both her Wildcat Art and student teaching

experiences. Chapter 5 discusses the implications of the findings in Chapters

3 and 4 on preservice teacher education and makes recommendations for

change in the implementation and execution of future Wildcat Art sessions.

24

CHAPTER 2

REVIEW OF CURRENT LITERATURE

Organization of Chapter

This chapter is intended to provide a comprehensive look into the

research and literature that most directly relates to, influences or supports the

concerns of this inquiry into Saturday school art programs. The chapter

begirxs with a discussion on reform efforts for art teacher education. It then

presents a literature review in each of the four areas central to this inquiry.

These are: (1) Classroom Management; (2) Curriculum and Lesson Planning;

(3) Commtmity Outreach and (4) Organizational Skills. Since this inquiry

focuses on the benefits of implementing a Saturday Youth Arts Program to

better prepare student teachers, a separate review was done on field

experiences. Finally, this review would not be complete if it did not also

discuss reflective teaching practices and various strategies for teaching art.

Through an examination of the research conducted in these areas, a better

understanding of the interests and concerns of this inquiry will be achieved.

Introduction

One goal of art education departments who are involved in teacher

training is to more effectively prepare their preservice teachers for the student

teaching component of their education. To ensure the quality of teacher

preparation programs, demands for reform have been voiced. Recently,

Hutchens (1995) organized a set of four propositions for improving teacher

preparation. These were: (1) the creation of a national association of

25

discipline-based art education programs; (2) stronger support for art education

in our university governing boards and our state departments of education

through 'Tjuilding a national corporate and governmental constituency for

art education reform efforts" (Hutchens, 1995, p. 15); (3) more field-based

research by faculty and doctoral students and (4) abolishment of departmental

elitism in Colleges of Fine Arts so that faculty from art education, art history

and studio collaborate, rather than isolate, their efforts to better prepare

preservice art teachers. Meeting these goals will position art teacher

preparation programs as a united front and help to overcome ciurent

deficiencies in individual imiversities.

At a local level, art teacher educators within the institutions need to

develop collaborative relationships with in-service professionals in their

commimities. These commimity-based relationships combined with

improved commimication between faculty in the College of Fine Arts and the

College of Education could create expanded educational opportunities for

preservice art teachers. However, before beneficial changes can occiu-, all

those involved in the preparation of preservice art teachers need to come to a

consensus on "...whether or not the 'education' in art education is as

important as the 'art' in art education" (Champlin, 1995, p. 17). I believe

faculty members who educate, train and encourage our preservice teachers,

should bear in mind that "...teacher and education go hand-in-hand" when

making their decision (Champlin, 1995; p. 17).

Considering these requests for change, one role for art teacher

educators could be to provide students opportunities to combine their

knowledge in both art and education through course work offered specifically

26

in the practical application of educational theory. This does not mean to

imply that the addition of one or two methods courses into the curriculum

can solely accomplish all the challenges set forth in calls for reform.

However, supplemental courses, like Wildcat Art, can act as agents for change

in art teacher preparation programs.

To xmderstand Wildcat Art's complex orientation and potential

rewards to The University of Arizona's preservice art education program, I

looked to the literature to discover what had been done in related areas. Due

to the relatively limited resource base in art education, I had to expand my

investigation to include literature in general education. This proved to be an

adequate source of information for my inquiry since many interests in

general education research are broad-based and inclusive of teaching in the

visual arts.

In this review I use research in general literature to provide

background and support in each content area, yet focus more specifically on

art education research when possible. As listed earlier, the seven subjects of

this review are: (1) Classroom Management; (2) Curriculum and Lesson

Planning; (3) Commimity Outreach; (4) Organizational Skills; (5) Field

Experiences; (6) Teacher Evaluation and (7) Strategies for Teaching Art.

While the literature often overlaps from one area to another, I emphasize

each as a separate imit in order to present a cohesive body of research.

Classroom Management

Many challenges present themselves to beginning teachers like those

enrolled in Wildcat Art, but their greatest is classroom management (Arends,

27

1991; Good and Brophy, 1987; Jones & Vesilind, 1995). This is because the

classroom environment is made up of a variety of complicated, immediate

and simultaneous interactions between the teacher, the students and

instructional materials in the room. The complexity of teaching is often

overwhelming for begiiming teachers since their success and reputation as

teachers depends on their ability to control their environment (Jones &

Vesilind, 1995).

A study conducted by Ellingson (1991) examined how teacher educators

prepare their preservice teachers to meet the managerial demands of

teaching. Through her research, Ellingson determined that educating

preservice teachers about classroom management from a generic frame of

reference, rather than one that was discipline specific, did not make a

significant difference in their application of classroom management strategies

during student teaching.

In a related study, Stockrodd (1990) looked at six middle-school art

teachers to determine what kind of instruction dominated art education at

that level. While there were disparities among the teachers in the amount of

time they spent in managerial, appraisal and substantive instruction,

Stockrodd foimd that all six engaged in appraisal iiistruction the most.

Appraisal instruction is defined as a process of morutoring student

performance and give encouragement or suggestions for improvement

(Sevigny, in Stockrodd, 1990). The second highest form of instruction was

managerial in which teachers control both class functions and student

behavior (Stockrodd, 1990). Finally, the teaching of art content, substantive

instruction, was used the least.

28

While vast amounts of research have been conducted on classroom

management in general education, there is considerably less which is specific

to art education. However, many of the strategies and suggestions made in

general education are easily transferred to the specific needs of art teachers.

This section is focused on a discussion of both preventative techniques

teachers can employ to limit discipline issues in the classroom and proven

strategies for how to stop discipline issues once they have begun.

Preventive Techniques

Concerns about classroom management have prompted research on

how effective art educators organize their lessons and environments to limit

management issues (Araca, 1990; Susi, 1989,1990a, 1990b, 1996). Susi (1989,

1990a, 1990b, 1996) has focused his research on the physical setting of the

classroom. He (1990a) argued that because classroom environments are so

familiar they are often overlooked as a resource that is easily manipulated to

prevent potential problems. His studies on effective teachers' use of

classroom space found that effective teachers use their space to encourage

time on-task behavior. They did this by carefully planning their

enviromnent, reviewing their expectations and reinforcing correct

procedures (Evertson, Emmer & Anderson; Evertson & Emmer in Susi, 1989).

When planning the organization of a classroom space, Susi (1990a)

encourages teachers to keep in mind that

much like the creation of a work of art, the layout of a classroom for a given instructional function will most likely result from a process of experimentation that involves an awareness of the environmental variables involved, the behavior patterns of the students, and the nature of the activity taking place.... Well planned classroom spaces

29

tend to be dynamic, fluid environments that move and change in patterns that reflect the characteristics of a lesson (pp. 95 & 97).

However, no single layout will meet the needs of all aspects of an art lesson

(Susi, 1990a, 1990b). The teacher must find one that best meets his or her

instructional needs.

In a later work, Susi (1996) outlined six categories for improving

student behavior and overall classroom management. These were: (1)

thorough preparation for the school year; (2) careful planning of the

classroom space; (3) constant monitoring of student behavior; (4) catching

disruptions before they begin; (5) quickly eliminating disruptions when they

occur and (6) using a pre-planned approach when dealing with misbehavior.

Adherence to these gtiidelines can create behavior-minded teachers that

anticipate potential problems and stop them before they start (Susi, 1996).

General education research adds to this work on classroom space by

presenting preventive strategies that effective teachers use during instruction.

Preservice art teachers at The University of Arizona use the Arends (1991) text

Learning to Teach to leam about basic classroom management strategies and

research. Therefore, it seems pertinent to use this resource to identify the

preventive techniques Wildcat Art participants were familiar with and

knowledgeable about. Arends describes the following preventive strategies:

(1) Establish rules and procedures for student movement, student talk and

downtime; (2) teach the rules and make them routine; (3) pace lessons

appropriately and maintain momenttim; (4) plan for the opening and closing

of class as well as transitions between activities; (5) use a cue or signaling

30

system to alert students of any changes in the activity and (6) promote student

accoimtability.9

Other issues that affect classroom discipline are consistent use of

positive reinforcement (Brophy & Good, 1987, Johnson, 1988a; Quick, 1993)

and motivation (Arends, 1991; Brophy & Good, 1987; Johnson, 1988a). Each

has its own set of strategies that when used correctly set up preventive

environments. Through recognizing and reinforcing students for their good

behavior, success on assignments and appropriate contributions to class

discussions, teachers can set up positive classroom climates where students

receive attention for their accomplishments rather than their inappropriate

"attention-getting" behaviors (Brophy & Good, 1987). However, Brophy and

Good warn that not all students are motivated by praise and that too much

positive reinforcement can create situations in which children are motivated

only if external rewards are promised. Another factor in the creation of

preventive environments relies on how teachers motivate their students to

engage in learning. Teachers can motivate students by creating activities that

ensure student success (Brophy & Good, 1987), varying the instructional

format or teaching environment (Brophy & Good, 1987; Quick, 1993) or

making the learning meaningful to students by relating it to their daily lives

(Brophy & Good, 1987; Johnson, 1988a).

Teacher attitudes can also create atmospheres that discourage

inappropriate behavior. To create preventive environments teachers must:

(1) respect and care for their students; (2) be consistent in their behavior so

that students see them as credible; (3) assume responsibility for their students'

For further defirvition of each strategy see Arends (1991), pp. 164-170.

31

knowledge acqiiisition; (4) value education and expect their students to feel

the same way and (5) communicate these beliefe to their students and model

them in their behavior (Brophy & Good, 1987).

Reactionary Strategies

Little has been written in art education regarding reactionary strategies

to managerial issues.^" Therefore, I shall rely on what I found in general

education research. Arends (1991) tackled issues of classroom management by

presenting a variety of research findings on effective teaching. "This line of

research [recitation] supports the image of the teacher as 'ringmaster' (Smith

& Geoffrey, 1968), involved in monitoring classes through the exhibition of

behaviors such as withitness [and] overlapping" (Jones & Vesilind, 1995, p.

314).ii Other reactionary strategies described by Arends (1991) are quick

response time to inappropriate behavior (Quick, 1993) and the enforcement of

logical consequences (Dreikurs in Arends, 1991). Arends also advocates

Evertson and Emmer's guidelines for managing inappropriate behavior: (1)

maintain eye contact with student imtil mis-behavior stops and appropriate

behavior returns; (2) remind the student of the correct behavior or nile and

have the student identify it as well and (3) impose the necessary consequences

consistently.

Reactionary is defined as teacher responses to behavior once it has begun. In 1970, Kounin (dted in Arends) defined eight different variables that teachers exhibited

while managing groups. Two of these were: (1) withitness—the teacher's awareness of his or her environment to the extent that he or she is able to catch misbehavior quickly and correctly and (2) overlapping—the teacher's ability to do more than one thing at a time (e.g. stopping misbehavior without disrupting the lesson's momentum). For more information on Kounin's studies see: Kounin, J.S. (1970). Discipline and group management in classrooms. New York: Holt, Rinehart & Winston.

32

Brophy & Good (1987) recommend ignoring minor misbehavior. If it

becomes impossible to do so, then a teacher should maintain eye contact with

misbehaving student until he or she has understood the message. Another

strategy Brophy & Good advocate is touching the disruptive student's

shoulder and gesturing the appropriate behavior. Physical proximity is also

known to be effective in eliminating minor misbehavior, as is use of a

disruptive student's name during instruction to regain their attention

(Brophy & Good, 1987; Quick, 1993). Additionally, Quick (1993) warrants the

use of time-out and making a lesson out of the behavior as potential

solutions for minor problems.

In light of this research it is important to remember that while

preservice students may have knowledge of these studies and their finding,

they may not be able to recall them immediately. They need opportunities

which enable them to try different techniques in order to determine those

that work best for them (Quick, 1993). As the preservice art teachers in

Wildcat Art went through the program, their managerial repertoire grew

with their experience teaching and evaluating lessons.

Curriculum and Lesson Plartning

The planning process as described in general education literature

focused on how to plan effective lessons, while research in art education

looked specifically at what to plan. Therefore, the review first looks broadly at

general education findings then narrows its focus to discipline-based art

education and its influence on instructional planning.

33

How Should Preservice Art Teachers Plan?

In the 1970's Taylor^^ (in Good & Brophy, 1987) found that when

experienced teachers planned their lessons they focused first on the lesson's

subject matter, then on the corresponding activities. Often their plans

neglected to include specific objectives or tools for evaluation. In a later

study, Borko and Niles (in Brophy & Good, 1987) found that preservice

teachers could leam from Taylor's findings. Borko and Niles concluded that

while experienced teachers may not need to, beginning teachers should write

comprehensive lesson plans which include thoughtful objectives and

multiple evaluation procedures in addition to content and related activities.

Comprehensive planning for inexperienced teachers has also been

recommended by Brophy and Good (1987). They found that initial planning

helps beginning teachers identify their goals and examine their thought

processes (Brophy and Good, 1987). Brophy and Good (1987) argue that over-

planning is necessary since it provides preservice teachers a feeling of

confidence and builds a solid foundation for instruction.

What Should Preservice Art Teachers Plan?

Bemey (1990) stated that an art ouriculum should reflect "the

importance of the fine arts to learning, the centrality of art to the

development of an individual's uniqueness within a unified society and the

disciplinary nature of the study of art" (Parrott dted in Bemey, 1990, p. 31).

These ideas correspond to the prevailing theory in art education known as

discipline-based art education or DBAE.

Taylor's studies also discovered that most teacher's planned aroimd their pupil's needs, interests and abilities (cited in Good & Brophy, 1987).

34

Discipline-Based Art Education (DBAE)

In 1979, the National Art Education Association (NAEA) defined a

quality art teacher preparation program as one that stresses an appreciative

component, including criticism, a studio component and an art history

component (Rogers & Brogdon, 1990). These guidelines organized ideas that

had been surfacing in art education literature since the sixties. Five years after

the NAEA came out with its report, Greer (1984) wrote Discipline-Based Art

Education: Approaching Art as a Subject of Study. It was in this landmark

work that Greer brought together art education's disparate ideas into a

coherent theory he titled discipline-based art education (DBAE).

A discipline-based approach to the organization of a visual arts

currictilum includes content from the disciplines of aesthetics, criticism, art

history, and production (Clark, Day and Greer, 1987; Greer, 1984). In a

discipline-based approach, "...the four disciplines are taught interactively to

build an increasingly developed imderstanding and enlightened appreciation

of works of art" (Greer, 1987, p. 227). As its premise,

discipline-based art education, as a part of general education, aims to develop mature students who are comfortable and familiar with major aspects of the disciplines of art and who are able to express ideas with art media, who read about and criticize art, who are aware of art history, and who have a basic understanding of issues in aesthetics. The general goal of DBAE is a developed understanding of the visual arts for all students (Clark, Day, & Greer, 1987, p. 138).

In a later article Greer (1987) briefly defined each discipline. He wrote

that study in aesthetics leads students to reflect on their "experiences and

understandings of art" (Greer, 1987, p. 229), while criticism examines the

meaning of works of art and makes value judgments based on those

35

conclusions. Art historical investigations encourage pupils to relate works of

art to larger historical, social and cultural phenomena. Finally, activities in

production allow students to develop their expressive skill in the various art

media.

Despite its accepted integration into preservice preparation programs

and professional practice, DBAE has met considerable resistance from scholars

in the field. Moorman (1989) sximmarized many of these criticisms in her

article The Great Art Education Debate, but specifically she raised questions

regarding DBAE's exclusion of non-westem, decorative and folk arts and its

decidedly male outlook. Li addition, Moorman brought forth an argument

originated by Philip Yenawine against aesthetic scaiming, a largely advocated

approach to teaching the discipline of art criticism. Yenawine argued that

"you can scan a Constable, but you can't scan Islamic art—or any of the

decorative traditions. And a term like 'expressive qualities' is not very useful

if you're talking about a Botticelli or any art which has nothing to do with

personal expression" (dted in Moorman, 1989, p. 130).

In response to these and other attacks aimed at DBAE, its original

premise has altered considerably since its first definition by Greer (1984).

DBAE nozv: seems to define art more broadly, includes art of other ciiltures, seems to no longer promote only the 100 canons of art made by dead white Euro-American makes, seems to embrace the 'popular arts' as worthy of serious consideration, no longer equates aesthetics with aesthetic experiences and responses, realizes the limitations of aesthetic scarming, acknowledges tiaat art has social content as well as form, and is tolerant of contributions of feminist scholars. (Greer, 1987, p. 94).

36

DBAE: Effects on Teacher Training

With the development of a new paradigm for art education, the former

philosophy for teaching art has gradually disbanded. Over the past ten years,

DBAE has established itself as the dominant theory in the field. This has

persuaded colleges and universities to re-evaluate their teacher preparation

cturiculum to include the tenets of DBAE (Feinstein, 1989; Rogers & Brogdon,

1990). They have had to add courses in aesthetics and criticism, as well as

expand their art history and studio offerings to ensure that their preservice

teachers will have the knowledge necessary to enforce a discipline-based

cxirriculum in their schools.

A discipline-based ciirriculum in higher education has proved to be a

duel challenge for institutions in that (1) colleges and imiversities must re­

structure their programs to find time, funding, and knowledgeable faculty to

teach courses in each of the four disciplines and (2) those courses must offer

both content and teaching strategies specific to that discipline. Feinstein

(1989) best describes the complexities of the latter in her statement "we cannot

presume that students can take a course in aesthetics, for example, and by

themselves figure out how to teach it to youngsters" (p. 8).

If we assume that institutions can meet these conditions, then it seems

necessary to provide students an opportunity to put their knowledge into

practice. Even though the discipline-based theory is well established in

higher education, it has yet to become the dominant practice in public

schools. Part of this problem may lie in preservice teachers' assumptions

about what art looks like in the classroom. Another contributor may be that

up imtil the current decade the cvirriculimi of most fine art departments was

37

dictated by a "creative self-expression" approach to art education (Clark, Day &

Greer, 1987). This theory, fueled by modernist ideology, placed its emphasis

on activities which develop a child's assumed inherent aeativity (Clark, Day

& Greer, 1987).

The remnants of a creative self-expression based curriculum can still

be seen in that many preservice programs in art education focus the btdk of

certification and degree requirements on broad based studio experiences with

intense study in two or three studio areas. With much of their own art

education from a creative self-expression model, many preservice teachers

attain their assumptions of how to teach art based on their experiences

learning art (Hutchens, 1995). These assumed ideals remain intact even after

courses in art education theory and pedagogical practices. To meet this

challenge, Galbraith (1995b) suggests that institutions find ways to develop

within preservice teachers an image of what art teaching looks like.

Implementation of a program like Wildcat Art into the curriculum may be a

viable solution.

Commimity Outreach

Saturday Art Schools

Saturday art schools have a substantial history. Their early origins

began in Canada with Arthxir Lismer's Heilifax Saturday School of the 1880's

and the Nova Scotia College of Art and Design which conducted Saturday

Morr\ing Art Classes for Children from 1932 through the present day (Pearse

& Soucy, 1987). Traditionally, Saturday arts schools served two purposes.

38

these were: (1) to provide art programs for children and (2) to create an

opportunity for preservice teachers to practice teaching (Pearse & Soucy, 1987).

In fitting with tradition, contemporary Saturday schools provide

specific benefits not only to the commimity members involved, but also to

the art education students that teach them. First, they help university

students "become familiar with the challenges of teaching art in the public

schools" through dialogue with peers and careful observation (Arnold, 1994,

p. 50). Secondly, they enable preservice art teachers to recognize that children

are "imique beings" who respond to situations in a variety of ways (Ryder,

1994). Finally, working with the commimity encourages preservice teachers

to "bridge the gap between the schools [the imiversity] and the commimity at

large by finding, restoring and using those bridges that are there" (Boyer, cited

in Arnold, 1994, p. 51).

While many imiversities claim Saturday arts programs in their

preservice art education curriculum (Zimmerman, 1994a), very little has been

written on how these programs are constructed within in their respective

communities. To meet community needs, Saturday schools seem to build

programs for one of three community populations: (1) disadvantaged or

educationally challenged students (Pisano, 1974; Ryder, 1994); (2) gifted and

talented youth (Clark & Zimmerman, 1987; Feldhusen & Sokol, 1982;

Gregory, 1982) or (3) a combination of the two (Arnold, 1994; Walker, 1980).

Wildcat Art best fits into the third category, though it could be argued that it is

oriented more towards a gifted and talented population than not.

Cooperative community relationships between students in university

and students in the public schools can also help build support for the arts as a

39

part of a basic education. Walker observed that "The joy of discovery and the

challenge of problem solving contributed effectively to [the youth's] overall

experiences and, if but for a little while, art was as important, involving and

as basic as any other subject available in the educational arena (Walker, 1980,

p. 69). If students leave supplemental programs with excitement and

renewed interests art learning, their parents may become inspired by their

child's wonder and curiosity and become advocates for arts in the schools. In-

service art specialists could potentially feed off of this excitement and use it to

promote commimity support for their own programs.

Advocacy

An omrupresent need in art education is one of public support for

visual arts education as a necessary component of our children's basic

education. Advocacy is considered to be the best weapon art teachers can use

to fight the marginality of the arts in education. As practicing art specialists,

preservice teachers will have to constantly battle a pubUc who sees art

education as unnecessary or ornamental (Eisner, 1987). To face these

challenges and win, they need to be taught commimity building strategies

which will help them justify their programs to students, their parents and

commimity members. While those traditionally in the arts are usually

imwilling to lobby for change, McGoff (1988) argues that art teachers have a

professional responsibility to be vocal advocates for art education in the

schools.

Advocacy art education can be done in a variety of ways. Some small-

scale ideas involve the organization of student displays, participation in

40

community exhibitions, formulation of monthly art newsletters which

discuss program goals and the organization of a art support group that is

made up of interested parents who are willing to be educated about the visual

arts' role in education. These kinds of small-scale advocacy projects can

provide art specialists tremendous community support when it comes time

for the school board to determine what programs need to be cut or

substantially reduced. If art teachers work hard to involve students, parents

and the commimity into their programs, they are far less likely to be

eliminated when budgets are limited.

Colleges and universities need to prepare preservice art teachers for

these ongoing challenges by providing them the tools and the knowledge to

be leaders in their schools and school districts (Degge, 1987; Dtmn, 1992). One

way to do this is to provide opporturuties for them to work with and meet

parents and commimity members through outreach programs. These kinds

of experiences often prove to be beneficial for all involved. There is a large

demand in communities for art instruction (Degge, 1987). While much of the

need is for adult art instruction, there is significant community interest in

similar programs for youth. It was in response to both a community need

and an educational one that The University of Arizona organized and

implemented the Wildcat Art Saturday Youth Arts Program.

Organizational Skills

Time has become an increasing dilemma in art education (McGoff,

1988). Time, or more specifically, lack of time for teaching the visual arts is a

result of the diminutive value that is placed on it by society. Eisner (1987)

41

provided a possible reason for the minimal attention the arts receive in

general education when he stated that "intellect is regarded as something that

is best cultivated through subjects like mathematics and physics... since the

school's first obligations are to ailtivate intellect, and since the arts are

believed to deal with emotions, the arts in this view are ornamental" (p. 11).

This results in the perception of art as "fun", and separate from those

activities which require cognitive exercise.

Because of the limited time art educators have to teach the visual arts

to their pupils, it should be viewed as a precious commodity and used

effectively. Time based research is complex in that it describes many items

ranging from student specific behaviors like engaged time or time-on-task, to

teacher controlled issues like planned time, procedural time, or allocated

time.^3 Time effectiveness is directly related to issues of teacher effectiveness

in that the teacher must have a good grasp on the needs of his or her

students, be aware of environmental conditions which could effect the

lesson's outcomes, have sound management structures and utilize relevant

activities that engage students in their learning (Arends, 1991).

Specific research in art education on time organization and teaching

effectiveness confirmed that two out of the four variables that influence

quality of instruction are organizationally specific (Johnson, 1989). These

were the planning component and the presentation sequence. Johnson

described the planning component as the activity a teacher engages in when

focusing on the main concepts of the lesson. During this time they need to

find diverse ways to provide students explanations and invent innovative

For further description, please see Arends (1991), p. 70.

42

activities with which guide them through the new material. Similarly, the

planning component involved thought on how to help students construct

their own knowledge of the material. When sequencing lessons, Johnson

advocated that teachers revisit prior learning and relate its usefulness to the

acquisition of new knowledge or skills. Her research verified that careful

planning involves "the organization of information into a coherent

sequence, the use of an adequate number of illustrations or examples,

precision and concreteness of expression, keeping in touch with students'

comprehension and providing enough practice to ensure mastery" (Evertson,

Emmer, Clements, Sanford and Worsham, dted in Johnson, 1989, np).

Also important to this study is the organization of the curriculiun

structure to include the four disciplines. Eisner (1987) presented four possible

curricular structures for the organization of discipline-based content in an

elementary classroom. These were: (1) setting aside a set time each week for

instruction in a particular discipline; (2) designing an integrated structure

which combines art with another subject; (3) creating areas in the school or

classroom where students can engage on independent projects which develop

their knowledge in art and (4) a combination of the first three structures.

Other possible structures for the orgaruzation of the disciplines have

been described by Erickson and Katter (1988). These were: (1) co-ecjuity—each

discipline is taught separately from the others; (2) assimilation—components

lose their individual identity and become fragmented and (3) amalgamation

or consolidation—"components work together in a variety of emphases, all

the while maintaining their individual identities" (np).

43

For most beginning teachers it is both a blessing and a ciirse that there

is no set recipe for discipline-based instruction. Decisions like how much

time to devote to each discipline, in which order should the disciplines be

taught, and how much emphasis to place on the disciplines at each grade

level is left up to the teacher's professional judgment (Eisner, 1987). Based on

my own experience, discipline-based instruction in the secondary schools is

most often organized in a structtire similar to Erickson and Katter's

assimilation model (1988). It was also the most used organizational method

of the Wildcat Art participants at all three grade levels.

Field Experiences

Early field experiences of preservice art teachers at The University of

Arizona cor\sisted of one semester of self-directed classroom observations as

well as "simulated field experiences" in the form of interactive video-discs^^.

The Wildcat Art experience seeks to integrate theory with practical

experiences to "improve new teacher's vmderstanding of themselves, their

role as educators and their understanding of classroom pedagogy and

children" (McDermott, Gormley, Rothenberg & Hammer, 1995, p. 185). It

attempts to foster growth in the preservice teachers' decision-making skills

and their reflective thought on those decisions, as well as help them make

the cognitive jvunp from student to teacher. Oppewal (1993) has suggested

that these kinds of early experiences develop preservice teachers' pedagogical

expertise before they enter student teaching.

See Galbraith (1993) for a full description of interactive video-disc instruction.

44

Research states that teacher education programs may be more beneficial

to preservice students if they integrate their methods courses with actual

classroom teaching (Goodlad; Holmes Group; Meade; in McDermott,

Gormley, Rothenberg & Hammer, 1995). Oppewal (1993) indicated that field

experiences where preservice students act as teachers may be more beneficial

to their development as teachers than those that are purely observational in

orientation. Likewise, Zimmerman (1994b) concluded that "preservice art

teachers are well served by engaging in concrete situations in which art

teaching and learning take place" (p. 65).

Student Teaching

While field experiences are accepted as beneficial to teacher preparation

programs, there is a deep rooted concern that the educational knowledge

provided in tmiversity course work becomes obsolete once students leave the

domain of their teacher training institutions. "The student teaching

experience, in many cases, most probably marks and represents not only the

physical separation of preservice teachers from their art teacher education, but

also their intellectual detachment as well" (Galbraith, 1993, p. 9).

The new influential factor in a preservice teacher's education becomes

his or her cooperating teacher. Research indicates that student teachers

quickly match the behaviors, practices and expectations of their cooperating

teachers (Jeffers, 1993). Jeffers studied the "mimicking" tendencies of student

teachers and found that student teachers leam in one of two ways. The first

learning behavior, the conformist, occurs when students are limited in their

growth as teachers by external factors like school expectations. To conform.

45

student teachers accept the ideas and practices of their cooperating teachers as

truths and do not question or make professional observations about their

ideas or practices. Conformity, therefore, provides a narrowly developed

pedagogical knowledge. The second learning behavior, the imitative, is

similar to the first because mimicking behaviors are still apparent. However,

the student teachers do not blindly accepting their cooperating teachers'

beliefe and practices as perfect. Rather, they pride themselves in their ability

to fool themselves and others that they are actually teaching. The imitation

process allows them to step back away from their role-plaj^g to analyze and

"make professional judgments about their practice as they make finer and

finer discriminations about what is real or essential and what is not" (Jeffers,

1993, p. 90).

Looking at these two models of learning to teach, it is easy to

understand why teacher educators would be concerned with their reduced

role in preservice teachers' development. If the preservice art teacher is

placed with a cooperating teacher who is not sympathetic to the goals of

discipline-based art education, as is often the case (Byrne, 1995), this situation

becomes even more disturbing. Thus, the question for teacher educators

becomes one that investigates how they can make their imiversity classes

more meaningful to begiiming teachers.

Winitzky and Kauchak (1995) proposed an intriguing and insightful

explanation for why this phenomenon occurs. They described a theory of

skill learning first originated by Anderson, entitled ACT* for Adaptive

Character of Thought (cited in Winitzky & Kauchak, 1995). The ACT* theory

is based on two kinds of knowledge: (1) declarative knowledge which

46

involves an understanding of facts and concepts and (2) procedural

knowledge which is composed of specific plans of action for performing

specific goal achieving skills.

"When confronted with a novel problem, the learner integrates relevant declarative with procedural knowledge in a holding area called working memory. The learner then executes some action, and receives feedback on tl^ action. This feedback is used to revise what is stored in memory" (cited in Winitzky & Kauchak, 1995, p. 221).

This process occurs each time the learner encoimters a new problem and thus

transforms knowledge into script that reads like an "if-then" statement. If a

certain situation occurs, then a specific action is executed.

As the learner develops his or her own procedural knowledge,

fragmented segments of declarative knowledge compile into a "single

production that does the work of the sequence" (cited in Winitzky &

Kauchak, 1995, p. 221). This becomes a defining factor as to why most

professionals contribute their learning development to their experiences in

the field. Winitzky and Kauchak vise Anderson's theory to describe the

notion that students leam how to teach from solving problems in the field.

Because classroom problem-solving experiences lead to integrating declarative knowledge into [procedures], it is no longer necessary to consciously retrieve this information...Consequently teacher candidates forget that they ever had this separate store of knowledge, and they loose awareness of its import (cited in Winitzky & Kauchak, 1995, p. 223).

Declarative knowledge becomes subsumed into procedural knowledge

and becomes unconscious. Teachers literally don't remember ever having

learned it in the first place. This understanding of knowledge acquisition

provides a foundation for the expansion of field-based opportvmities within

47

the university. If problem-solving experiences are combined with a feedback

component within the university classroom, teachers my come to value their

university education more highly.

Therefore, when evaluating our programs, it is essential to ask "do we

provide opportimities for our preservice clientele to think and act like art

teachers?" (Galbraith, 1990, p. 52). Field experiences can "lay the groundwork

for student teaching by providing opportunities for prospective teachers to

acquaint themselves with the classroom from a teacher's perspective, and to

begin to develop and integrate schemata for teaching by studying the teaching

of others" (Livingston & Borko, 1989, p. 41).

Reflective Teaching

An important aspect of the Wildcat Art program that has not before

been mentioned is that it attempts to teach preservice teachers to analyze

their own teaching and discover other alternatives to pedagogical problems.

This practice is called reflective teaching and has become somewhat of an

educational buzzword in recent years. While it is sometimes linked to

leadership (Zeichner & Liston, 1987) its purpose in the Wildcat Art program is

to help preservice teachers look "within themselves to clarify instructional

intentions, examine assumptions that underlie expectations, and consider the

personal sensitivities necessary for productive interaction with yoimgsters"

(Susi, 1995, p. 112).

Methods used to develop these characteristics in Wildcat Art's

preservice teachers were journal writing and post-observation conferences.

Reflective journals have been proven to help preservice art teachers leam

48

about "what they know, how they feel, what they do, and how they do it"

(Yinger & Clark in Zimmerman, 1994b, p. 60). The other technique used,

post-observational conferences, was conducted as soon after the teaching

experience as possible. While the conferences did use evaluative language

from Hunter's (1982) Mastery Teaching, they also focused on questions that

engaged students in reflective thought and self evaluation. In his research on

higher order reflection among novice teachers, Pultorak (1993) presented a list

of reflective analysis questions. These questions are good indicators of the

types of reflective questions asked during post-observational conferences:

(a) What were the essential strengths of the lesson? (b) What, if anything, would you change about the lesson? (c) Do you think the lesson was successful? Why?.... (f) Can you think of another way you might have taught the lesson?... (h) Do you think the content covered was important to the students? Why? (Pultorak, 1993, p. 290)

Through this kind of reflective discussion. Students examined their personal

behaviors, their solutions to instructional problems and their teaching

decisions (Susi, 1995).

Strategies for Teaching Art

My inquiry into this area focuses on the question "How do art teacher

teach their content effectively?" Since the skills and instructional models for

production are somewhat obvious, I have chosen to answer this question in

relation to the disciplines of aesthetics, criticism and art history. Presented

here are brief descriptions of what is important to teach for each of these

disciplines as well as strategies for teaching activities. I have also included a

brief section on Madeline Himter's Essential Elements of Instruction for

effective teaching since this was the instructional method university students

used to evaluate teaching.

49

Aesthetics

Aesthetics is often considered to be the most difficult of the four

disciplines to teach because art teacher have little or no knowledge of it or

experiences with it (Hagaman, 1990). "Hamblen (1987) and others have noted,

it is unclear what sort of aesthetics is called for in a discipline-based approach

to art education. The term 'aesthetics' may refer to a variety of things..."

(Hagaman, 1988, p. 19). However, it is most often defined as the philosophy

of art which investigates its nature and values. Aesthetics is a necessary

component of students' art education for three reasons:

(1) So that they will come to understand the nature of philosophical inquiry as it relates to their own thinking and the thinking and

writing of others. (2) So that they might learn the skills involved to engage in

philosophical inquiry. (3) So that they might find pleasure and fulfillment in engaging in

philosophical inquiry and appreciate the value of philosophical inquiry (Stewart, nd).

There are a variety of innovative techniques teachers can use to teach

aesthetics in the classroom. Hagaman (1990) presented inventive puzzles as a

way of engaging students in lively discussions about the natvure of art.

Puzzles present cases where perplexing issues about the natures and values of

art are investigated through student discussion. An example is: "the Louvre

is on fire. You can save either the Mona Lisa or the guard who stands next to

it, but not both. What do you do?" (Hagaman, 1990, np). Another example

describes "Ruby, an elephant in the Phoenix zoo, who paints, creating colorful

abstract works of art (Lankford, 1988). Is Ruby an artist? Is what she makes

art?" (Hagaman, 1990, np).

50

To involve students in philosophical inquiry Stewart (nd)

recommends: encouraging students to ask aesthetic questions and write

about them in jovimals, designating class time for discussions about aesthetic

issues or engaging students in "great debates" where students argue a

situation from differing stances. Another activity is the In-Out-Maybe game

which requires students to determine if an object is art, is not art or might be

art. This enables students to examine their own assimiptions about the

nature of art. All of these activities are starting points from which teachers

can develop their students' ability to think philosophically about art.

Criticism

Instruction in criticism can create within students an imderstanding of

the meaning and significance of works of art. Critical inquiry helps to

develop critical thinkers who are able to synthesize and analyze art concepts.

ToUifson (1990) described the four components of art criticism as: (1) a formal

description of the work; (2) an analysis of the way the properties are

organized; (3) an interpretation of the work's mood and meaning and (4) a

value judgment of the artwork. Often these are put together in an activity

described earlier, aesthetic scanning. This activity involves students in a

discussion about the art object's formal properties. It is a useful technique for

encouraging student talk about works of art. Other creative teaching

strategies for criticism are games like "three card draw, 20 questions, art bingo

and art on trial" (ToUifson, 1990, np).

51

Art History

liistruction in art history should be based on content in four areas:

"attribution (where, when, and by whom was a work made), iconography

(what symbols are present and what do they mean), provenance (what is the

history of the work itself) and function (the purpose for which the work was

made)" (Greer, 1987, p. 31). This information needs to be structured in a way

that makes it relevant to students (Dake 1995). To do this, Dake (1995)

suggested that teachers discuss the essence of works of art not their surface

qualities. Dake defines the essence of artworks as the political, economic and

social constructs within which the artist lived and created. This kind of

investigation and individualization of the artist and artworks can foster

within students lifelong relationships with art.

Parks (1994) outlined three approaches that teachers could use to

organize their lessons. These were: (1) the traditional or positivist approach

which requires objective observation of the artwork to produce facts; (2) the

idealist approach, including thematic, sociological and anthropological

approaches, which seeks to tmderstand the contexts and meaning of art

objects and (3) the instnmientalist approach which uses art history as a tool

for studio. Rather than using only one of these methodologies. Parks

advocated a combination of all three. "Thematic approaches can be the

'hook' or motivation than grabs the interests of the students. Idealist

concenis like cultural or historical context, make the lessons meaningful,

while accompanying studio activities will reinforce the concepts being

taught" (Parks, 1994, p. 81). This kind of integrated approach can provide

comprehensive art historical experiences for students.

52

Essential Elements of Instruction (EEI)

Mastery Teaching or EEI was developed by Madeline Hunter as an

iristructional format which identified a list of teaching behaviors that are

considered effective. It is based on "...the premise that the teacher can use the

principals of learning to accelerate student achievement, and that good

teaching corisists of very specific teacher behavior" (fohnson, 1988a, np).

Htmter indicated four elements for effective instruction. These were: (1)

select an objective at the correct level of difficulty for students; (2) teach to the

objective; (3) use principals of learning to facilitate the learning of students

and (4) monitor the students and adjust the teaching.

Himter and Gee (1988) stated that teachers should begin lessons with an

anticipatory set. This sets the stage for the learning. Secondly, the teacher

should deliver the content to be taught clearly and teachers should check

their students for tmderstanding through either overt or covert active

participation. The teacher should then encourage the student to practice the

information taught to make sure the student can execute the task with a

degree of success. When this has happened, the student can engage in

independent practice which helps students "...to develop automaticity,

accuracy, and increasing creativity and artistry without the guidance of a

teacher" (Hvmter & Gee, 1988, np).

Summary of the Literature

Preservice art teacher education had been under scrutiny since the

advent of DBAE. Questions have been raised as to how iiistitutions can best

educate their students for their student teaching experiences as well as their

53

professional careers. The University of Arizona attempted to improve their

students' preservice education with the implementation of the Wildcat Art

Saturday Youth Arts Program. This investigation into the nature of that

program looked into the following areas of related literature: (1) Classroom

Management; (2) Curriculum and Lesson Planning; (3) Commimity

Outreach; (4) Organizational Skills; (5) Field Experiences; (6) Reflective

Teaching and (7) Strategies for Teaching Art.

One of preservice teachers' greatest challenges is classroom

management. Research has proven that a generic approach to classroom

management strategies is as effective as one that is discipline specific

(EUingson, 1991). Further, preventive approaches to classroom management,

especially those dealing with spatial organization and preliminary and

extensive planning are more effective than reactionary techniques which

focus on stopping desist behavior once it has begim.

Preservice art teachers must include both clearly stated objectives and

outlined evaluation procedures in their lesson plans to have a solid

foimdation for their instruction. In regard to content, curricula should

include sequential instruction in each of the four disciplines of aesthetics, art

history, criticism and studio. This discipline-based approach is necessary for

youth to develop a compreherisive tmderstanding and appreciation of the

visual arts. Since there is no prescribed formula for how to teach a discipline-

based lesson, there are numerous theories for how the disciplines are best

taught. These options were discussed herein as well as possible strategies for

teaching the disciplines of aesthetics, art history and criticism.

54

Other attributes of effective teachers are their organizational

characteristics and the extent of their community outreach. Decisions on how

much time to devote to each discipline, in which order should the disciplines

be taught and how much emphasis to place on each one is left up to the

teacher's professional judgment (Eisner, 1987). To fight the marginality of art

in the general curricvilxmi, both in-service and preservice art teachers must

accept their role as art advocates by instigating small-scale advocacy projects.

Preservice students need field experiences to form images of what

discipline-based art instruction looks like. Research shows that education

programs that combine methods courses with actual teaching are more

effective in preparing preservice teachers than those that do not. It has been

an issue in higher education that field experiences, specifically student

teaching are often considered to be more valuable by professionals than their

preservice course work. This may be attributed to Anderson's ACT* theory

which describes the cognitive development necessary for teachers to gain

practical knowledge.

Finally, engaging preservice teachers in reflective thought can help

preservice teachers to analyze their own teaching and discover other

alternatives to pedagogical problems. When combined, these seven elements

contribute to provide a comprehensive look into the research and literature

that most directly relates to, iiifluences or supports the concerns of this

inquiry into Saturday school art programs.

55

CHAPTERS

THE 1995 WILDCAT ART EXPERIENCE

Organization of the Chapter

This chapter discusses the findings of research conducted on the

Wildcat Art participants during the Spring semester of 1995. This chapter first

describes my research methodology on this, the first of two studies I

conducted on the Wildcat Art program. It then describes the Wildcat Art

Saturday Youth Arts Program in detail, beginning with the preparatory

weeks, continuing into the daily running of the lab school and ending with

the final student art exhibition. While the description is an accurate record of

the activities of the 1995 program, it does not provide a complete record of all

that took place diaring the lab school.

The chapter then goes on to present information discovered through

four questionnaires distributed both prior to the experience and after the

program's completion. The general study, described here, discusses the

preconceptions, concerns and suggestions of the sixteen university students

enrolled in the program during that semester and offers conclusions based on

the collected data.

Introduction

Wildcat Art, currently preparing for its fourth year as a part of The

University of Arizona's Art Education program, has imdergone a variety of

changes since its inception. Changes have occurred as a result of

recommendations made by the imiversity students enrolled in the course at

56

the end of each semester. Since this research was conducted during the

second year of the program, descriptions herein may not accurately describe

the program as it currently exists. However, while some elements of the

program have altered from year to year, its basic structure has remained

consistent.

Methodology

Characteristics of the Site and the Sample

The site is a large southwestern university with a total current student

body popvdation of more than 33,500. Approximately 25,300 of this nxmiber

are undergraduates. The art education program is located within the Art

Education Department that is a part of the College of Fine Arts. The art

education program currently has three prominent professors, two adjunct

faculty members and four graduate teaching assistants. The department

claims 18 graduate students and 49 undergraduates who have declared art

education as their major.

The art education majors enrolled in Wildcat Art during the spring

semester of 1995 made up the sample for this inquiry.is The sample consisted

of sixteen university students: 4 graduate and 12 imdergraduate. Fifteen^® of

the students were working towards their teaching certificate in art.i^ Of the

undergraduates, only seven were traditional students. Despite the fact that

15 Wildcat Art is listed in The University of Arizona's general catalogue as ARE 338L: Secondary School Art and is convened with the ARE 558: Theories of Curriculum and Instruction in Art. It is offered only during the Spring semester.

One student was not interested in receiving teaching certification because she did not see a use for it in her future. However, after her Wildcat Art experience, she discovered that she enjoyed teaching and went on to become certified the following year.

Art certification in Arizona includes grades K-IZ

57

69% of the sample students were in the middle or near the end of their

preservice art education course work, they generally had few teaching

experiences. For most involved. Wildcat Art was their first opportimity to

teach art to youth.

During the Spring of 1995, Wildcat Art operated as a three imit class

offered to both undergraduate and graduate art education majors who sought

certification in art. It consisted of two weekly classes which met for one hour

and fifty minutes each session imtil the opening of the lab school at which

time the class met once a week for an hour long staff meeting and on

Saturday mornings for approximately three hours. Regular class meetings

often lasted over their assigned time due to the extensive coordination of the

various details needed for the successful realization of the program. Students

volunteered this time and were compensated for it by recording their

"overtime" in a required log which documented their activities throughout

the semester.!®

The Method

A descriptive research method was best stiited for this inquiry on the

beliefs of the preservice art teachers enrolled in Wildcat Art because of its

concern with assessing the attitudes and opinions of a predetermined sample.

According to Gay (1996), descriptive studies generally collect their data

through questionnaires, interviews or observation. While there are inherent

Other possible activities included hanging an art exhibition at a local school, painting a mural in lab school classrooms, creating a time line for each grade level to use for instruction, meiking posters which displayed the lab school rules and consequences, organizing and inventorying supplies, coordinating the distribution of basic supplies to each grade level classroom, etc.

problems with this method, like poor participant response to questionnaires

or bias in interviews and observations, it provided me an effective method

for data collection.

To obtain general information on the preservice teachers in Wildcat

Art, I coiistructed three short questiormaires and one compreherisive final

questioimaire to help me formulate answers to the following questions:

(1) What were the main concerns of preservice art teachers going into their first teaching experience? EHd the Wildcat Art program help them to fill in the gaps in their preservice education? Participants' responses to this question could indicate gaps in the preservice program and provide knowledge of what and possibly where those gaps were.

(2) What were the preservice art teachers' learning expectations of the Wildcat Art program? Were they fulfilled at ^e end of the course? Answers to questions about these concerns would provide knowledge of preservice art teachers' images of what art teaching should look like and give valuable feedback on whether or not The University of Arizona's preservice art education program meets the perceived needs of its students.

(3) How did structvires existing within the Wildcat Art program help or hinder the vmiversity students' perceived development as teachers? Did they value the lab school experience? Why? Ariswers to questions about these concerns provided insight into what benefits the art education students felt they received as a result of the Wildcat Art program and what they felt should be changed to make the experience a better one.

By Leedy's (1993) suggestion, I kept my questiormaires direct and brief

by only asking questions that would provide enough information to

formulate answers to my questions. I utilized a combination of open- and

closed-form questions. This allowed for some personalization of their replies

while also providing me with specific data.

59

To answer my research questions, I needed to collect data at two points

in the semester. These were: (1) at the beginning of the semester, before the

lab school opened and (2) at the end of the semester, after the final teaching

day. Each questionnaire was distributed and collected within the first ten

minutes of class. Before they were distributed, I explained to the class the

purpose of the questionnaires. In addition, I explained that their participation

would provide them an opportunity to influence their own education

because if relatively large correlations between items were fovmd when

examining their responses, the department might be encouraged to adjust the

program accordingly. They were also instructed that the questionnaires were

voluntary and anonymous, but that I would greatly appreciate their time and

effort.

A longitudinal study, one that included data collection on the 1994-

1996 Wildcat Art participants, may have provided more comprehensive

information than that which is presented here. However, despite this

inquiry's limited generalizability and scope, it maintains its usefulness as a

precursory investigation into the validity and benefits of implementing

Saturday school field experiences into art teacher preparation programs.

Background

Wildcat Art: A detailed description of its structure

Since its inception, Wildcat Art has been instructed by a master art

specialist who has an M.A. in art education and over fourteen years

experience teaching art in the public schools. She is highly respected by

department faculty and has taught the Department's elementary art methods

60

coiirse for a number of years as adjunct faculty. She is an active member of

the Arizona Art Education Association (AAEA) and has attended multiple

National Art Education Association (NAEA) conferences.

I was involved with the program as a graduate student who was

enrolled in the class for credit. Since I had already taken the class as an

undergraduate the previous year, I was encouraged to take a leadership role

in the class as the Assistant Director. Using the syllabus and notes outlined by

the Director, we worked together to organize lectures, formulate daily

activities, problem solve and reflect on the experience throughout the

duration of the program. I was not involved with grading other than in

exceptional situations when the Director questioned me about specific

instructional elements of a lesson I had observed. My role was mainly

admiiustrative, but I spent numerous hours in consultation with students

brair\storming teaching techiuques and strategies, providing feedback on their

instruction or further explaining the class content.

The program was organized so that during the first eight weeks of the

semester the class worked together to formulate their own unique image of

what the lab school would look like. The first week of class was spent

discussing the kind of commitment, professionalism and dedication inherent

in implementing a Saturday Youth Arts Program.

The second week, students participated in "getting to know you"

exercises and other group building activities. These helped the tmiversity

students form relationships with one another and discover each other's areas

of strength. A chart was put together which rated the students' abilities in

each of the four art disciplines. Based on this information, students were

61

invited to select two or three member teams with which they would

collaboratively prepare and teach disdpline-based art lessons to youth.

This was done with the assimiption that working in teams would

encourage students to reflect on their teaching experiences through

discussions of alternate solutions to instructional problems with their peers.

This idea has been supported by Howey (1988). He discovered that a team of

teachers who work closely together can often provide their students higher

quality instruction and greater insights than those working alone. In

addition, Bucholz, Roth and Hess's research foimd that working with peers

develops each team member's interdependence as well as cviltivates an

awareness of shared responsibility (dted in Ryder, 1994). A shared sense of

responsibility was especially important because there could be no weak links

if we were going to provide the youth attending the program the best possible

experience.

After splitting into six different teaching teams, students were given

the choice of fotir committees to join as a representative of their team. These

were the Primary, Intermediate and Secondary currictdum committees and

the Advertising committee. The curriculum committees were given class

time during the second and third weeks to come up with an age-appropriate

sequential curriculum^o that was sensitive to multiailtural concerns. At the

The Advertising Committee's tasks were to create a logo, a brochiure and posters for distribution to Tucson area schools for recruitment of interested youth. They were also required to tj^e up and distribute press releases for campxis and dty papers. The committee also took on the responsibility of designing t-shirts for the Wildcat Art staff which identified us as a unit, rather than individuals. These became popular with the program's youth, and have since become another source of income. 20 The first year did not have a sequential curriculum. Instead, each grade level's instruction was divided between 2-D and 3-D media. Activities and content for the disciplines were chosen as compliments to the studio component of the lesson.

62

same time, the advertising committee developed a Wildcat Art logo,

brochure and poster. Published lesson plans were taken from the Art

Education Department's curriculimi resource library and combined to form

each curriculum. When the curriculum teams were finished with this task,

grade level curricular themes^i were explained to the class and the location of

possible lessons were distributed to each of the teaching teams. The

advertising committee put these ideas together in a brochure (see Appendix

C) and class members began distributing them to area schools during the third

week of the program.

A rationale for the creation of the four committees is the support

researchers have provided for involving teachers in decision-making

processes known as teacher leadership (Barth, 1988; Gupton, 1995; Howey,

1988). "Study after study underscores the benefits of dynamic, organic, fluid

orgaruzations where problem solving and decision making reside at the level

of those responsible for making decisions" (Howey, 1988, p. 29). Furthermore,

"whenever people feel that they are important to the organization and have

input into making decisions about their own work, they are usually happier

and more likely to work hard to make new ideas work" (Gupton, 1995, p. 72).

By providing preservice teachers the opportunity to participate in decisions

that would dramatically influence the development and execution of the

Wildcat Art program, they began to feel a sense of ownership of it and

commitment to it. This was a necessity since the success of the program

Each curriaalum used a thematic approach to unit plaiming. This helped them meet multicultural concerns by using lesson content to educate students about the cultural similarities and differences in our community.

63

depended entirely on their willingness to actively participate in it and

dedicate themselves to it.

While criticisms of teacher leadership in the form of collaborative

teams have been voiced, its failure has been seen as a lack of willingness and

a general feeling of insecurity due to time restraints, fatigue or inability to

assume the responsibility (Gupton, 1995; Howey, 1988). There seems to be a

variety of ways to combat these kinds of motivational problems. One is to

provide leadership education in preservice teacher preparation programs.

"Helping student teachers to asstime early in their practice the responsibility

for constructing their own knowledge is consistent with the kinds of skills

needed for classroom teachers to become true change agents and reflective

professionals capable of sharing in school-wide leadership" (Gupton, 1995, p.

79). By providing the college students erurolled in Wildcat Art opporttmities

to begin participation in leadership activities, they may be empowered to take

on similar roles in their professional careers.

After curricular demands were met, the preservice teachers were then

instructed on the components and instructional methods of a discipline-based

lesson plan. A detailed lesson plan structure (see Appendix C) which

combined EEI and discipline-based theory was distributed. This was meant to

be used as a guideline for the development of personalized lesson plans. An

assumption here was that since prerequisites for enrollment in Wildcat Art

included art education classes^^ which discussed discipline-based theory and

the foxor disciplines, students were knowledgeable about DBAE theory.

Therefore, instruction focused on effective teaching methods, strategies for

22 Two semesters of ARE 496H/596H: Current Issues in Art Education Theory and Practice.

64

teaching the art disciplines and the Essential Elements of Instruction (EEI)

(Hunter, 1982).

During weeks six and seven, the class broadened its focus to deal with

concerns regarding classroom space, supply ordering, rules, regulations and

other procedures needed for effectively teaching the youth enrolled in the

program. Forms were developed that dealt with emergency health situations,

disciplinary concerns and situational considerations such as a written release

form for parents or guardians who pick-up each child after the program's

completion on Saturdays (see Appendix C). University classrooms were

transformed into creative and interactive learning environments conducive

to art instruction. By the eighth week, students had achieved these tasks and

were focxised on the first day of lab school.

Another element of the Wildcat Art program that has been alluded to,

but not yet fully explained, is the role of the teaching team that is in the class,

but is not instructing the lesson. With only three classes taught per week,

half of the teaching teams are "off" each Saturday. Therefore, an observation

component was added to the course. This provided each classroom with two

teaching teams. One of these teams actually taught a lesson while one

observed the lesson using a structured observation form (see Appendix C).

This provided students an opporttmity to engage in a focused observation by

analyzing the classroom environment, investigating student dynamics and

thinking reflectively on the teaching taking place. Focused observations have

been proven to draw attention to teaching's improvisational characteristics,

thus helping preservice teachers to appreciate "...the cognitive demands of

successful improvision" (Ribich, 1995, p. 41). This was believed to be an

65

important element in their development as teachers since it encouraged

reflective thought on teaching action.

Another component of the lab school was the registration procedure.

As registration forms were received, confirmation packages had to be sent out

to the participant's homes. This packet included a confirmation letter which

discussed the location of the classes, a map of how to get there and

information about orientation on the first day. It also contained a form

package which included the disciplinary contract, release form and emergency

form. These were to be filled out and brought to orientation the first day of

the lab school.

Lab school days began at 8:30am for teaching teams and 9:00am for

observing team members. Teaching teams set up visual displays, organized

their environment and supplies and otherwise prepared for teaching their

lessons. Observing teams were required to help their corresponding teaching

teams in any way possible up imtil 9:15am at which time they were

responsible for one of three tasks: (1) greeting program participants and their

parents at the drop-off and pick-up site; (2) walking program participants from

the drop-off and pick-up site to the courtyard outside the classrooms or (3)

supervising youth while they played games or drew thematic chalk murals in

the courtyard. Promptly, at 9:30am, the observing team members for each

grade level led their group of students into their classrooms for instruction. If

at any time during the lab school a child needed a drink, to use the bathroom

or had a health emergency, observing team members were responsible for

assisting or supervising that child. Otherwise, they were meant to be silent

observers, imless they were directed by the teaching team to do something

66

else. The director and I rotated around the three classrooms during the two

and a half hours of instructional time recording observations and assisting in

discipline issues or health concerns on the rare instances in which they

ocairred.

At the close of lab school, observing members escorted their age level

groups up to the pick-up area and checked them off a list as they left. All

observing team members had to be present imtil the last student of their

group was picked up. On occasions when students were not collected, one

observing team member would take them to call home and would stay with

them until a parent or other guardian arrived.

On the last day of the lab school, a comprehensive art exhibition was

held on The University of Arizona campus in a gallery space.23 Each child's

artwork from all six lessons was displayed. Parents, youth and other guests

were invited to attend the exhibition between 10:30am and 12:00noon. This

experience provided the youths with a sense of pride and accomplishment.

After a graduation ceremony, in which participants were given certificates of

achievement, the artwork was carefully taken off the walls and placed in

portfolios contaiiiing the students' preliminary sketches.

Study Results

Pre-experience questionnaires

Response for each of the three pre-experience questionnaires was low.

The first, second and third response rates were 56%, 63% and 38%. Therefore,

I can not discuss these results as inclusive of edl the university students

23 Please see Appendix D for images of the lab school and the final student art exhibition.

67

enrolled in the Spring 1995 Wildcat Art program. However, the results do

indicate many substantial findings which provide insight on how the

program could be altered to better meet the needs of the preservice art

teachers enrolled in the course.

The first questiormaire indicated that curriculum and lesson planning

was the respondents' most serious concern regarding Wildcat Art. This was

also reflected in their response to the next question which asked them to rank

in order, 1 being the highest, 5 the lowest, what they felt needed to be covered

in class to help prepare them for their teaching experience. 89% of the

respondents listed "how to prepare discipline based lesson plans" as their

greatest need, with 100% of the respondents listing it in the top two.

Discipline and classroom management was their second highest concern with

89% of the respondents listing it in the top three positions.

The second questiormaire consisted of two open-ended questions that

dealt with the curriculvim committee's decisions. This helped establish

whether or not the committee was representative of the group's concerns.

The first question asked what they considered to be the most challenging

aspect of creating a curricvilum. Six of the nine respondents' answers

revolved aroimd group consensus and compromise. An example of this kind

of respor\se can be seen through the answer of one student who wrote that his

or her greatest challenge was "working in groups; trying to commtmicate [his

or her] ideas while compromising with others." Other ideas were expressed

about the order and placement of individual lessons within the curriculum

(2:10) and what content should be taught (2:10). Three students chose not to

answer the second question. However, of the seven who did, all agreed that

68

they were satisfied with the curriailum decisions made by the teams. When

asked whether or not they felt that making encompassing curriciilum

decisions would make lesson planning easier, 10:10 respondents believed that

it would. Their reasons why resembled this reply: "this will give the

teaching teams a starting point and an idea of what direction to lead the

students for the next team."

The third and final pre-experience questionnaire asked students what

they hoped to gain from the Wildcat Art class. 100% of the respondents^^

listed experience as their main goal. Some expanded on this and included

other ideas. Two students mentioned organizational skills as important,

while another expressed his or her desire to leam teaching strategies which

would enable him or her to "...communicate abstract concepts to younger

children". The second question asked students to list their position in their

education up to that point. Since the response rate for this questiormaire was

poor, I discarded the information I had obtained from the questionnaire and

asked the class directly to give me this information by raising their hands.

The information I received from this is listed in Table 3.1.

Table 3.1

Student Teaching TTE 30025 ARE26 course work 4 FaU 1995 3 Completed 8 Most Completed 7 Spring 1996 5 Currently Enrolled 3 In The Middle 5 Beyond Spring 1996 8 Not Completed 5 Very Few Completed

The third questionnaire had the lowest response rate with only six of the sixteen possible returning their questionneiires. 25 TTE 300: Classroom Processes and Instruction. This course teaches the fundamentals of teaching including classroom management, instruction and planning processes. It is also the class within which students do 30 hours of classroom observation. This is the only other field experience in their education besides simulated field experiences using interactive video disc technology.

ARE is the acronym for Art Education in the general catalogue.

69

Based on the prerequisite that a student needs to be student teaching

within the next year to be enrolled, these numbers indicated that only 11:16

students should have been in the class. University students are expected to

take the course as a ciilmination of their preservice course work in art

education, but these numbers verified that only 50% of the preservice

students enrolled had the art education backgroimd necessary (competed 21

credits of Art Education [ARE] course work) to take on this challenge. This

becomes especially worrisome when compared to the completion of their

secondary education course work. The TTE 300 class provides preservice

teachers a basic knowledge of general teaching pedagogy, basic classroom

management techruques and instruction in lesson and unit planning. The

data show that a scant 19% of the class had this learning completed prior to

their Wildcat Art experience.

Post-experience Questionnaire

The final questionnaire jaelded a 100% response rate and is therefore

representative of all the tiniversity students enrolled in Wildcat Art during

Spring 1995. This questionnaire was much longer than the pre-experience

questioimaires and allowed for more open-ended responses. When asked if

the overall curriculvim structure was a good one, 44% agreed that it was.

However, 38% said that it was both good and bad. Good and bad answers are

defined as a "yes, but..." answer to the question. Some examples of these

kinds of student responses were: "I liked the idea of having a large

curriculum for organizational pvirposes, but it would have been nicer to have

70

a little more flexibility with what we were supposed to teach" and "It

provided a unifying theme, but sometimes one that was confusing and not

tied to our specific areas [of studio expertise]." Since the curriculum was

meant to be sequential it is interesting to note that nearly half (44%) of the

preservice teachers did not keep in mind what came before or after their

lessons when organizing their lesson content.

In regard to what the preservice teachers felt they had learned the most

about as a result of the Wildcat Art experience, curriculimi and lesson

planning was at the top of the list. 60% of the respondents scored it highest

with 100% listing it in the top three. Based on the number of placements in

the top three positions, students ranked their learning in the five given areas

as: (1) Curriculum and Lesson Planiung; (2) DBAE Theory into Practice; (3)

Classroom Management; (4) Organization and (5) Community Outreach.

When asked what was the most beneficial aspect of the program to them as

individuals, practical experience and lesson planning were listed most. One

student commented: "I think this has really provided a great experience with

plaiming lessons and actually teaching to all age levels. I don't know what I

would have done without this class before student teaching." 94% of

respondents felt that they were better prepared for student teaching as a result

of Wildcat Art. They listed an increased sense of confidence in their teaching,

lesson planning and organization as the skills they had acquired which would

help them during student teaching.

Suggestions for improvements were plentiful and fairly diverse. Four

responses expressed dissatisfaction with the way points were distributed and

asked that an alternate way to grade be found. Others requested that more

71

time be spent on learning to write "good" lesson plans. Some comments

voiced a concern about the excessive work load, with two respondents

suggesting that the class be changed from three to foxir credits. Along these

same lines, some suggested "an increase in the time frame to extend the

entire Wildcat Art preparation and teaching process" possibly over two

semesters. Other noteworthy suggestions were reducing teaching teams to

two people, providing opporturuties for individual teaching experiences and

better recruitment of youth (begin it earlier and distribute information more

equitably).

I left an area in the questiormaire for additional thoughts.

Respondents used this area mainly as a fonmi for offering more suggestioi\s

or complimenting the class. Comments here were expressive and unique.

Some examples of these were: "I think that this class was one of the most

beneficial in the department. It was a great and hard experience and I feel

much more prepared for student teaching and 'real' teaching"; "Glad I got the

chance to learn the overall teaching experience" and

"The class was a wonderful experience and I feel it is the only class in the whole department that teaches you how to be a teacher. We leam[ed] how to write lessons, order supplies, solicit community support, common seiise things that schools will expect you to loiow."

Conclusions

Based on the findings above, it is obvious that lesson planning is an

area of deficiency in the preservice teachers' education. This could be caused

by any number of reasons. One could be that their preservice art education

courses are not adequately covering lesson planning in their class content. As

a result, students are coming into Wildcat Art with poor training on not only

72

how to write lesson plans, but how to organize and teach the disciplines as

well. Another reason could be that since prerequisites for the course are not

being adequately enforced, many of the preservice teachers in the class have

not taken even basic educational course work in classroom management,

instruction and lesson planning and are therefore inadequately prepared. A

final reason could be that there is an assumption made by faculty in the Art

Education Department that lesson plarining and teaching strategies should be

taught in Wildcat Art and that it is not the responsibility of other classes to do

this. If this is the case, I caution that "methods classes alone are not adequate

to teach both the subject matter content and the methodology of DBAE to the

preservice art specialist, along with curriculum, multicultural issues, the state

of art education in the nation, the myriad of tools to deal with school culture,

as well as assess the merit of resources and text materials for art education"

(Champlin, 1995; p. 17).

Another finding based on this inquiry into the general program is that

curricxilum designed by the curriculimx committees was a failure. It did not

represent the needs and interests of the class and furthermore, students did

not take into consideration what had come before or after the lessons they

taught. As a restilt, the program curriculima was a mishmash of individual

components tmrelated to the whole. I believe that this was because

preservice teachers did not have the lesson writing skills nor the experience

to take on such a challenge. I argue however, that the general curriculxmi

themes that the class created are interesting and novel ones and should not be

discarded without considering if a sequential cvuriculum is important in

supplemental art schools like Wildcat Art.

73

A third theme that emerged from the findings was that community

outreach is imdervalued by students. They do not seem to see Wildcat Art as

an opportunity to develop their commimication with parents and the

community, nor do they seem to have learned any advocacy skills to take

with them into their student teaching and professional careers. This is of

concern because the program was implemented to meet a commimity need,

yet students were vmwilling to take advantage of this potential resource. This

brings up interesting questions about how students were made aware of this

opportunity. Is the value of commimity outreach and the development of

advocacy skills commimicated to these students? How can Wildcat Art

change its focus to encourage preservice teachers to take better advantage of

this resource?

The study also points to two structures in Wildcat Art that may require

further refinement. These are: (1) lack of sufficient time to take on all the

variables involved in the lab school operation and (2) that teaming may not

always provide the best experience for every student. While teaming seemed

to work for most students, the few students who wished to take on more

individual responsibility felt limited by their teams. One student wrote that

"it was very difficult to work in a group and [then] discover... (after-the-fact)

that your teaching styles were really totally different." However, most of the

preservice students valued their experience corisidered it an important

element in preparing them for their student teaching.

74

CHAPTER 4

A CASE STUDY

Organization of the Chapter

This chapter discusses research conducted on one preservice teacher's

progress through the Wildcat Art program and into her student teaching.

The study looked for professional growth in four areas: classroom

management, curriculum and lesson planning, organizational skills, and her

involvenaent with the commimity. This research began as a larger study

involving four Wildcat Art preservice teachers during the Spring semester of

1995. The subject presented in this case study, hereafter referred to as #4, was

selected from those four original subjects as exemplary of Wildcat Art's

effectiveness in preparing preservice teachers.

This chapter first defines professional growth then lists Kagan's (1992)

developmental stages of learning to teach. While it is orUy a brief

introduction to the research conducted in this area, it offers a foimdation for

the nature of this inquiry. The chapter then discusses my methodology for

this case study. This includes a description of #4 which provides background

information on how she became interested in teaching art. With an image of

#4 clearly drawn, I present and analyze the data collected on #4 over a one

and a half year period.

The study relates #4's development in WUdcat Art, by looking at data

collected during the program, including pre- and post-experience interviews,

her required journal, and notes taken by various individuals, and compares it

with the data collected during #4's student teaching. Using these

75

comparisons, I make conclusions about #4's professional growth and discuss

the effectiveness of the Wildcat Art program in preparing preservice teachers

for the student teaching component of their preservice education.

Introduction

Since this study examines relative professional growth in each of the

four areas27 as a result of the Wildcat Art experience, a small discussion on

how this term is defined is important. While much is written on the

differences between novice and professional teachers (Borko & Livingston,

1989; Moskowitz & Hayman, 1974), studies which describe the way teachers

leam to teach are less prevalent. In 1992, Kagan conducted a review of the

literature in this area. After reviewing 40 articles she fotmd that:

professional growth among novice and beginning teachers is both behavioral and conceptual. Growth consists of a least five components:

1. An increase in metacognition: Novices become more aware of what they know and believe about pupils and classrooms and how their knowledge and beliefs are changing.

2. The acquisition of knowledge about pupils: Idealized and inaccurate images of pupils are reconstructed. Knowledge of pupils is used to modify, adapt and reconstruct the novice's image of self as teacher.

3. A shift in attention: As the image of self as teacher is resolved, a novice's attention shifts from self to the design of instruction to pupil learning.

4. The development of standard procedures: Novices develop standardized routines that integrate instruction and management and grow increasingly automated.

5. Growth in problem solving skills: Thinking associated with classroom problems solving grows more differentiated, multidimensional and context specific. Eventually, novices are able

(1) Classroom Management; (2) Curriculum and Lesson Planning; (3) Commimity Outreach and (4) Organizational Skills.

76

to determine which aspects of problem solving repertoires can be generalized across contexts.

Using these components as indicators of professional growth, a clearer image

of #4's development as a teacher can be seen.

Methodology

Characteristics of the In-depth Case Study

At the time of the study, #4 was a 24 year old female. She became

interested in teaching art as a result of her love of studio art.

When I first met her, she was in her fifth year of college and had attended

three other colleges besides The University of Arizona. These were Chapman

University in Orange, CA; Arizona State University in Phoenix, AZ; and

Pima Commimity College in Tucson, AZ. She had completed two of the

three required secondary education courses and was taking the third, TTE 300,

concurrently with Wildcat Art. While most of her studio requirements had

been met, she had only completed nine of the 18 necessary credits in art

education. Her future plans involved taking a year off after graduation to

live and work in France.

The Method

After spending four weeks with the preservice teachers enrolled in the

Wildcat Art program during the Spring of 1995,1 selected four traditional^^

undergraduate students to observe and look for professional growth in the

four areas of: (1) classroom management, (2) curriailum and lesson

I chose traditional students because I believed that they would most likely have the least amoimt of experience. This was necessary for an accurate indication of the professional growth the students attained.

77

planning, (3) community outreach and (4) organizational skills. These four

areas were selected as a result of my own personal experiences with the

program the year before. They were meant as general outlines and I made

only very broad and tentative hypotheses on what I expected to find.

For each subject^^ of study, #1, #2, #3 and #4,1 gathered materials that

would enable me to construct a clear picture of their pedagogical knowledge,

teaching experience and preconceived ideas of what effective art education

looks like in practice. My data consisted of each subject's class notes and

required joumals,30 my own personal notes made while observing the

subjects teaching in each of the three grade levels, the Director's observation

notes and the required evaluation forms of peers who viewed the lesson^i. I

also collected each subject's three lesson plans and the related instructional

materials. Triangulation helped reduce the bias inherent in qualitative case

studies in two ways. First, it helped provide a better picture of each subject's

instruction and secondly, it provided a way to check that my personal notes

and observations were acciirate records.

In addition, I conducted informal pre- and post-experience interviews^^

to more thoroughly investigate the beliefs, attitudes and assumptions of the

four subjects. The pre-experience interview provided personal information

and allowed me to assess their preconceptions about the experience, their

ideas about DBAE, their level of education and their individual teaching

philosophies while the post-experience interview asked the subjects to reflect

3 females and 1 male. Journals were written in as a part of course requirements up through the ninth week of classes,

when the instructor no longer thought they were an essential element to their educatioru 31 Please see Appendix C for the observation forms used for peer evaluation of the teaching teams. 32 Interview questions can be foimd in Appendix B.

78

on the experience and to look for change in their beliefs or ideologies. Both of

these were recorded to ensure that I had an accurate record of these

proceedings.

After I reviewed the information collected on the fovir case studies^^, I

selected one student, to follow through her student teaching experience.^^ I

observed her four times during her student teaching and on my final visit,

made a video cassette recording of her instruction. I was also given copies of

her lesson plans and her personal notes. Contact was made with the

imiversity's student teacher supervisor who, upon request, made detailed

notes dviring two observation sessions with special attention to #4's skills in

each of the four study areas.

Issues from both the Wildcat Art and student teaching experiences

were brought together in a final interview's conducted immediately after the

completion of #4's student teaching assignment. The final interview asked

reflective questions that looked for relative professional growth and changes

in her beliefe, attitudes and preconceptions in each of the four areas of

inquiry.

Interviews

Besides collecting data from a variety of outside sources, I chose to use

interviews as my main way of extracting the beliefs and experiences of my

Subject #2 dropped out of the research study mid-way through the semester. In addition, #1 completed her student teaching out of state so she was also eliminated as a candidate for the in-depth case study. #4 conducted the student teaching component of her certification requirements in the Spring

of 1996. This interview was also recorded. The three interviews were then transcribed and

delivered to #4 for her approval.

79

four study participants. The interview method I chose was informal rather

than formal. By setting up a relaxed, open and trusting environment, I hoped

that the interview process would be less intimidating and more inviting.

This I hoped, would encourage my subjects to answer honestly, rather than

indirectly in an attempt to avoid an imdesired answer.

Since the study began with four participants, I required an interview

that utilized both a structured and imstructured approach^® (Guba and

Lincoln, in Myers, 1992). The interviews were structured in that I had

prearranged questions that were based on a set of issues related to the four

areas of my study. However, the interviews were flexible enough that a

respondent's answer to any of the interview questions could and often did

lead to spontaneous discussions unrelated to the original question. In using

this mixture of both a structured and imstructured interview format, I hoped

to create a situation that was more like a casual conversation than a quiz on

how much educational jargon they could recite in one hour. While a semi-

structured interview method can be considered inconsistent with qualitative

research, I retained this approach for the final interview with #4. This

seemed appropriate since the other two interviews were conducted in this

manner.

Study Limitations

This inquiry is limited in its generalizability and scope since it was

conducted at one southwestern university and discusses only one case which

Myers (1992) described a structured interview as one that presents the interviewer as the holder of knowledge, while an unstructured interview identifies the interviewee as the expert who teaches the interviewer his or her information.

80

camot be considered inclusive of all students attending this university or any

university since no two experiences can be considered the same. In addition,

there is the possibility of my own bias. My close affiliation with the program

and my personal relationship with #4 may have altered my objectivity when

reviewing the data.

It should also be mentioned that #4 was considered by her imiversity

supervisor to be an "atypical" student teacher in that her skills rose above and

beyond most beginning teachers (Telephone conversation. Spring 1996).

Therefore, bias may exist as a result of her inherent teaching ability. Other

factors which may have influenced the study are: (1) #4 had some previous

teaching experience before she came into the art education program at The

University of Arizona;^^ (2) one semester of course work separated #4's lab

school experience and her student teaching and (3) #4's student teaching site

was located within an economically privileged area of Tucson.38

The Case Study

Classroom Management

During the pre-experience interview, #4 was asked to describe her

image of herself as a teacher. She saw herself as an enthusiastic, but casual

and easy going teacher. She wanted to be the kind of teacher that all students

like and respect. However, class control was important to her. Her ideal

classroom environment was one that was controlled, but not controlling:

"the kids know what they need to do and stick to what the plans are... I'm fun

#4 taught skiing in Colorado to young children, and preschool art in Tucson. The site had a comparatively large art budget, high community involvement and support for

the arts and education, and excellent working conditions.

81

to be around and everything's really going [well] and they're excited about

what they're doing and leave everything else out of the room."

When asked how she thought she might handle discipline problems in

the classroom, #4 related an awareness of the relationship between rules and

student behavior.

I think making sure that students know what's expected of them from the beginning and what is not [is important]... You've got to give some chances, you know, [but] not keep letting them have chances. I mean, you've got to draw the line somewhere... I don't want to be a discipline person. I know you have to be to some extent in some ways, but I think letting all the students know where the line is and this is what happens when you cross it [is best] (#4, Pre-experience Interview, March 2,1995).

This philosophy was evident on her first day of teaching at the lab

school. The following describes an incident that occurred during the

instruction of her teaching team's Australian cave painting lesson to the

Primary group.

I had a little bit of classroom management to deal with, one boy kept taking off, running ahead, climbing the highest on the fountain etc... I stopped with him and explained that it was very important that we stay together [while on the w^about] and that he should be able to see me all the time. That worked for a little while and then he needed to be reminded. I think that if I would have taken a more serious tone and really stressed the rules of what to do and not to do on an excursion, he would have realized that his behavior was not so good. For a longer field trip this would have been important, but I think that for our half an hour tour on campus, my casualness and two or three reminders were enough (#4 Journal, March 4,1996).

As #4 dealt with more behavior issues like the one listed above, she began to

refine her ideas of discipline. She became more aware of how to incorporate

82

preventative techniques into her lesson plans to elicit appropriate behavior

rather than waiting for problems to begin.

By her third Wildcat Art lesson, #4 began to set up her classroom

environment in a way that contributed to a well disciplined classroom. Her

Intermediate classroom was described as:

...nicely filled with a portrait of Faith Ringgold and reproductions of her work. There were also books that contained stories by Faith. A story board of Tar Beach was also hxmg at the back of the room... The supplies were neatly set up at the back. Papers and mat board were divided by their colors. There were also supply baskets that contained pencils, glue and rulers. For this particular project, which was story quUts, there [was] fabric, material, lace, buttons and sequins laid out for the students (Observer Form I, April 22, 1995).

Another preventative technique she used to prevent minor

misbehavior was what Quick (1993) called "extending the behavior to its most

extreme" (np). The Intermediate classroom was a college classroom that had

chairs and tables bolted to the floor in a "U" format. Chairs swiveled back and

forth as well as around. This enabled students to move in and out of them

easily. The chairs became an issue for teachers of the Wildcat art program,

because the Intermediate students enjoyed rocking in them during classes. To

combat this problem, #4, at the very beginning of class, asked her pupils to

"wiggle" in their chairs for 30 seconds. This was done with the

understanding that after this experience they wotild not be allowed to engage

in this behavior again. This drastically reduced student movement for the

rest of the lesson.

When asked about her management techruques during the post-

experience interview, #4 listed her development as a manager rather than an

abstract image as she had before the lab school experience. "I think I got better

83

at seeing something, seeing and adjusting right away instead of kind of

waiting until it got really crazy" (Post-experience Interview, May 12,1995). In

this statement #4 demonstrated that she has begim to integrate the

managerial and instructional functions of teaching into a cohesive action.

Additionally, her image of herself as a teacher and a manager had matured

into one that was more aware of her students as people

You don't really think that you should give children or students... knowledge [about what's expected of them] ahead of time... I think coming right out and saying [what is] inappropriate behavior right in the beginning really helps alleviate a lot of the problems. Just being aware that if you do that, if you tell them this is not okay [they will know and not do it] because [otherwise] they have no idea what's okay and what's not (Post-experience Interview, May 12, 1995).

By the end of her student teaching, #4 seemed to have developed a

much firmer stance on classroom management and was aware that she had

made early mistakes in her casual approach:

Discipline was hard. I think I was successful in some ways because I gave them much stricter discipline than they were used to. But I think in my own classroom, I would be much harder with it and right off the bat... They were used to such a relaxed style and... at first I went into their wanting to be liked, 'cause that was just human instinct, you know? And that was a little bit of my downfall... (Final Interview, May 13,1996).

This statement demonstrates #4's professional growth in this area.

After acquiring knowledge about her pupils, #4 determined that she covdd

not be their best friends and their teacher. She used this information to re-

frame her ideas about classroom management. Her revised view became one

more concerned with control than her original perception. She realized that

she needed to find a balance between establishing and maintaining class

control and developing a good rapport with her students.

84

Curriculum and Lesson Planning

Before Wildcat Art, #4 had never planned a discipline-based lesson.

Her lessons for Wildcat Art were extremely thorough. Objectives,

motivators, vocabulary and activities were outlined for each learning activity.

All three of her Wildcat Art lesson plans included related learning

experiences between the four disciplines. On the average, these lesson plans

were six pages long.

However, during student teaching, #4's lesson plans reduced in their

complexity throughout the semester. By the end of her student teaching, they

had become little more than general themes for each day. While her early

student teaching lesson plaiis were far less complex than her Wildcat Art

lesson plans, they were still somewhat comprehensive and explanatory:

Sketchbook in group 1. Try to finish up

- make sure you've met all the criteria - leave finished box on front tables with plastic and air

vent 2. Respect others' projects

Process: GREENWARE > fire BISQUEWARE > fire

GLAZE Firushed

*If you had anj^thing in the show, it's in the office (Lesson Plans, January 9,1996).

By the middle of the semester, however, her lesson plans had transformed

into brief statements:

85

INTRODUCE SCULPTURAL PROJECT • Show slides • 3 sketches

(Lesson Plans, March 12,1996)

These kinds of plans reflect what Winitzky and Kauchak (1995) called

"a by-product of increasing skill" (p. 223) This idea is based on an

understanding that as teachers gain experience, they develop their procedural

knowledge. With an adept procedural knowledge in place, a step-by-step

lesson planning format becomes redimdant since many of those steps become

combined into single actions. After teachers have experience in classrooms

they form basic understandings of how students learn and what methods

work best for certain situations. They no longer need the extensive planning

they may have used at the beginning of their teaching experiences.

However, this kind of lesson planning seems inadequate for the kind

of quality visual arts instruction The University of Arizona strives for its

students to produce. Did #4 reduce her lesson plans because she had achieved

higher levels of teaching expertise, or because she was not held accoimtable

for her lesson plans by either her student teaching supervisor or her

cooperating teachers? Could it be that this kind of planning was modeled by

her cooperating teachers? Interestingly, when asked about her "brief

statement" lesson planning format #4 never discussed what kind of impact, if

any, this had on her feeling of preparation for each day, or what kind of

impact this kind of planning had on her students.

Community Outreach

In the pre-experience interview, I asked #4 her opinion about

involving the commvmity in her future art program. She answered with

86

tremendous enthusiasm stating: "I think that its really important because, if

you win [the community] over, they become supportive of you and

everything you do" (Pre-experience Interview, March 2, 1995) When asked

how she would form bonds with the commimity, she thought she would

involve them through open houses or sending a letter home, a practice

required in Wildcat Art. Her parent letter from the Primary group illtistrates

how she used letter writing to commimicate her lesson objectives to her

student's parents.

Today we talked about symbols and their different meanings. The students made their own symbols which were transferred to their faces in the same way the Aborigines transferred symbols to their faces. We then experienced a bit of dreamtime with a legend and aboriginal music (Parent Letter P, March 11, 1995).

When I asked a similar question after #4's student teaching, she had

diffiailty describing examples of how she solicited parental involvement

during her student teaching. After prompting, she recalled her use of

evaluation forms as a commvmity builder between her, her students and their

parents. Because grades were based on whether or not the students met

specific criteria, forms provided parents with specific information as to what

their son or daughter had done or failed to do. Using these forms gave her

confidence when speaking to irate parents about their child's grade(s). She

believed that these also became very helpful in her commimication with

students.

These forms demonstrate how #4 made the cognitive leap from self-

centered concerns to student-centered concerns. They helped her improve

the clarity of her instruction by providing a format by which her students

would be graded. This helped her to more clearly analyze her desired

87

outcomes for student learning. Additionally, the forms provided her an

opportunity to assess the effectiveness of her teaching through her students'

written reflections to specific content-based questions.

Organizational Skills

When asked whether or not she believed in DBAE during the pre-

experience interview, #4 responded: 'Teh, I do. I don't know how in my

classroom I would quite yet weigh the different areas, like how much

criticism is essential... [but] it's definitely important to have more than

studio." Before she had taught, she believed that instructional time between

the four disciplines should be distributed as: (1) studio 50%; (2) art history

25% and (3) criticism and aesthetics combined 25%. Her Wildcat Art lesson

plans seemed to reflect these guidelines somewhat, though studio probably

received more time than she had stated and art history much less.

Ehiring Wildcat Art, her organization of the foiar disciplines in her

lessons most closely resembled Erickson and Katter's (1988) amalgamation

structure with each discipline working together to form a single unit, while

still maintaining their separate identities. However, during her student

teaching, #4 assumed a different model. She used a co-eqmty approach, with

each discipline taught unrelated to and separate from the others. She did this

by setting aside one day out of each week to teach one of the four disciplines.

Some of the activities she chose were student presentations on artists or art

movements, and a criticism game called Token Response.

When she had completed her student teaching, I again asked her how

the four disciplines should be weighed in each lesson. She drastically

88

modified her pre-teachiiig ideals by giving considerably more time to studio

and completely eliminating criticism and aesthetics: (1) studio 75-80% and (2)

art history 25-20%. When I asked her if she had tried to incorporate the four

disciplines into her teaching she said:

I think we covered art history and aesthetics and criticism, you know, kind of jumping back and forth... but then, even while you're doing the studio and walking around, I would try to [tell] students working in a certain way, [about ]... another artist [who worked in a similar way]... So it kind of peeks in every once and a while when you're teaching studio.

Thxis #4 altered her image of herself as a discipline-based teacher as a

restilt of her student teaching. It is an important consideration here that

neither of her cooperating teachers were advocates of DBAE, therefore #4 had

no model from which to leam. This seems to support May's findings that

"the goals of practicing teachers, are at times, 'at-odds' with the theories and

practices of university teacher educators" (cited in Galbraith, 1993). Therefore,

increased coordination between the university and in-service professionals

seems to be imperative if theory from imiversity is to become solidified in the

practices of recently certified art teachers.

Conclusions

These findings reflect previous research on the professional

development of begirming teachers (Jones & Vesilind, 1995; Kagan 1992;

Winitzky & Kauchak, 1995) . In order for #4 to achieve higher levels of

professional development, she had to first have an image of herself as a

teacher, then modify it based on her learrung about her students. Wildcat Art

helped #4 to develop an image of herself as a teacher. Without this

89

experience, #4 would have spent time developing this image during her

student teaching while also attempting to teach, organize supplies, write

lessons and leam about her students. Because #4 already had this knowledge

in place, she coiild focus her attention on learning about her students, then

modify and adjust her teaching based on that information. It seems apparent

then, that the kind of field experience offered through Wildcat Art can help

beginning teachers develop strong self-images, therefore enabling them

greater opportunities for professional growth during student teaching.

90

CHAPTERS

IMPUCATIONS AND RECOMMENDATIONS

Introduction

I believe that Wildcat Art is an essential component to The University

of Arizona's art teacher preparation program. Looking at Wildcat Art

comparatively over three years that I have been involved with it, it is

overwhelmingly obvious that most students want, even crave, the kind of

practical experiences offered by this course. Wildcat Art gives students those

experiences by providing a fonim on which they can practice teaching

discipline-based lessons. While Wildcat Art does not provide a completely

realistic teaching experience, it does help students create an image of

themselves as teachers. This image, essential for professional growth, is an

important aspect of their development firom art education students to art

teaching professionals.

The Wildcat Art teaching experience also helps to imite students'

theoretical or declarative knowledge with their practical or procedural

knowledge, thus creating a vital link between imiversity based theory and art

teaching practice. Students can discuss issues in their classes and use that

information to modify and adapt their teaching. This is a powerful

component of the program in that students develop their image of teaching

in imison with their preservice education. This allows art teacher educators

an opportunity that has previously been denied in traditional student

teaching formats. University course work may become more meaningful as

students put this knowledge into practice, thus somewhat reducing the role

91

that the cooperating teacher has as the sole bearer of a preservice teacher's

practical knowledge.

Implications

In order to improve preservice education, teacher educators need to

listen and respond to calls for reform. They must be willing to accept change.

This includes the implementation of additional field experiences both within

the xmiversity structure in the form of Saturday art schools, and outside its

confines in the public schools. For field based experiences to be rewarding for

all involved, university faculty will have to establish relationships with their

colleagues in the public schools. Continuous commimication between the

two must occur for this partnership to be effective and beneficial to students.

Educators on both ends will need to be enthusiastic about what this change

will bring. This means that in-service professionals will welcome students

into their classrooms, will discuss their teaching pedagogy with them and will

share their instructional methods. University professors must be willing to

incorporate discussions about these field experiences into their already

stressed airriculum. If these changes can occtir, preservice teachers will come

into the field as student teachers with a clearly formed image of art teaching

in practice thus enhancing their learning and their development as teachers.

Recommendations For Change

Since my experience with the Wildcat Art program has given me the

opportxmity to participate it as both a student and an educator, I have seen a

variety of changes within its structure. Each year adjustments have been

92

made in an attempt to provide more meaningful experiences for preservice

teachers. Based on my observations of the program and on the findings of the

two case studies, I have produced three recommendations for change. These

are: (1) topics for discussion in art education classes prior to, or concurrently

with Wildcat Art; (2) mandatory classroom observations in public schools and

(3) the development of committees to take on the various operational

responsibilities of the lab school.

Topics for Discussion

Every year, numerous issues arise that need to be discussed. Because of

the rapid pace of the Wildcat Art class, these issues can't and don't receive

adequate attention. I propose that these issues or topics be incorporated into

the content of other art education classes. While this will be an added burden

on the curriculimi of those courses, the topics are worthwhile and integral to

the development of knowledgeable and skilled art teachers.

These topics could be addressed in a variety of ways: (1) a formal

presentation from an expert in the area, (2) a group research project and

presentation or (3) an interview project in which students interview a

professional in the field and write their reflections of the interview. I have

compiled a list of topics that have come up over the three years I have been

involved with the Wildcat Art program. Because of the nature of these

topics, some might best be discvissed in coxirse work prior to the Wildcat Art

experience, while other topics might be most relevant if discussed at the same

time that students are dealing with the issue in Wildcat Art. Listed here are

some possible topics for research/discussion:

93

• What school districts use EEI? What instruments do other school districts use to evaluate teacher performance?

• How do you meet the needs of children with special abilities? For example: hearing impairment, ADD/ADHD

• How do you teach a lesson that incorporates a variety of learning styles? What strategies can you use to teach a visual learner? An auditory learner? A kinesthetic learner? etc...

• What does the research say about cooperative learning? How can you incorporate cooperative learning techniques into a discipline-based art lesson?

• What are some questioning strategies that involve all students in the learning? What are some techniques for implementing these ideas into discipline-based art lessons?

• What are some time management techniques that will help you to meet your commitments? What are some ways to manage stress?

Mandatory Classroom Observations

While art education students have field experiences in their general

education classes, they are not always placed in an art room and even when

they are, they only view one art teacher's method of instruction. I believe

that the preservice art teachers enrolled in the Wildcat Art program would

gain considerable knowledge from additional field experiences in the public

schools. I therefore recommend that Wildcat Art students spend a minimum

of ten hours observing art teachers in the public schools before the opening of

the lab school. This kind of experience would grant them a better

understanding of the complexities of art teaching on a daily basis.

94

Additionally, this kind of field experience would this help them form

an image of what art teaching looks like in practice. It wovdd also provide the

preservice art teachers an opportunity to see iiow experts organize their

supply distribution, handle art related discipline issues, reinforce appropriate

behavior, establish efficient clean-up procedures, etc. This kind of practical

information would become especially relevant to preservice teachers if they

knew they would soon have an opportunity to immediately implement these

strategies into their own teaching.

To strengthen their learning and to develop reflective teaching skills,

tmiversity students would benefit from a written reflection of each of their

observations. Observations and their corresponding reflections should focus

on only one or two aspects of the teaching they observed. This would enable

preservice art teachers to leam about specific instructional behaviors rather

than attempting to comprehend all the actions and decisions an experienced

art specialist makes during a fifty minute art class. Furthermore, I strongly

recommend that these observations take place in at least two different sites

and at two different age levels, preferably elementary and high school.

Development of Committees

In the three years that Wildcat Art has been operating, students have

been given a points menu from which they chose activities to do. The

amoimt of points they earned determined 20% of their grade. At the

beginning of the semester each student selected activities that he or she

wanted to participate in or complete. However, as the semester progressed,

some students earned more points by volimteering for non-menu activities.

95

thus opting out of their earlier commitments which created a deficiency in

certain areas. At the end of the year, when most people have more menu

points than they need, motivation to do spur of the moment tasks was non­

existent.

To make the staff rvm more like a school environment, I suggest that

each student receive their points by signing up for a committee. Committees

would meet once a week for a half an hour during class time to accomplish

tasks they are required to do. After the lab school opens, meetings would

instead be held every two weeks. On the first day of the committee meetings,

each committee member will be presented with an agenda that lists all that

committee's required tasks and their date of completion. Each committee

member would need to keep a log of how much time they spent working on

committee tasks. Some students will obviously work harder than others, so

in addition to the log, I suggest that there be both a peer and a self evaluation

at midterm and again at the end of the semester. This would ensure that all

committee members participate in completing their tasks. I feel that the

development of committees would imite the class and give them a group

identity since they would most likely be working with classmates outside

their teaching teams.

I have distributed tasks between four committees^^. The committees

are: (1) Public Relations which manages registration and the final art

exhibition; (2) the Wildcat Art Site committee which handles orientation and

coordinates site based issues like setting up the class environments; (3)

Advertising and Design which creates flyers, brochures, t-shirts, etc...; and (4)

For a complete description of each committee's requirements, please see Appendix B

96

Community Outreach and Staff Support which participates in commimity

activities like hanging student art displays and supports the staff with

additional projects. I feel that these changes could help the program nm

more efficiently and would give preservice teachers a better learning

experience.

Conclusion

Change in education is a slow process. It often meets barriers and falls

to the wayside. While there are inherent problems with the Wildcat Art

program, like its overwhelming time commitment and personal

involvement, most students who go through the program admit that it was

an incredible learning experience and are appreciative of the skills and

knowledge they learned as participants in it. In addition it is a wonderful

resource for the community. Many of our Secondary students are from low

socio-economic backgroimds and attend the classes on scholarships. This

enables them to focus on their artistic strengths and develop them in a way

that extends the learning offered in their regular art classes. Furthermore,

younger students enrolled in the program have the opportimity to develop

their skills while simultaneously building lasting relationships with works of

art and artists. The implementation of such a program can only improve an

existing preservice art teacher preparation ciuriculum.

APPENDIX A

98

QUESTIONNAIRE #1

Name? (optional).

1. Please indicate what your most serious concern is regarding Wildcat Art.

2. Please rank in order, 1 being the highest, 5 the lowest, what you feel we need to cover in class to prepare you for your teaching experience.

^Discipline/Classroom Management ^How to prepare DBAE lesson plans ^What to do when addressing controversial subject matter (nudes, religion, etc...)

^How to evaluate student work ^Communication with parents

QUESTIONNAIRE #2

Name? (optional) .

1. What did you consider the most challenging aspect of creating a curriculum or advertising campaign?

2. Are you satisfied with the curriculum decisions the teams made?

3. Do you feel that making this encompassing oirriculum decisions will make lesson plaiming easier for teaching teams? If so, how?

QUESTIONNAIM #3

Name? (optional)

1. What do you hope to gain from this Wildcat Art experience?

2. When will you do your student teaching?

Fall 1995 Spring 1996 Fall 1996 Spring 1997

3. Have you taken: TTE 300 ^EdP310 ^EDUC 350

100

QUESTIONNAIRE #4

Now that the lab school is nearly over, and some of the feelings of anxiety are over, it is important that you do some reflective thinking about the experience by answering the following questions.

1.) Was the decision to make an initial large curriculum plan a good one?

2.) How did the imit plan for each age level affect your lesson planning?

3.) Did you keep in mind what had come before, or what would come after when organizing the content to be taught during your lessons?

4.) Please rank in order, 1 being the highest, 5 the lowest, what you feel you've learned the most about as a result of this experience.

Discipline/Classroom Management Lesson Planning ^Organization (time sequencing, time on task, etc...) Commimity Outreach Putting theory into practice (DBAE)

101

Please write freely on the following questions. Be assured that all answers will be held in strict confidence.

5.) What are one or two areas you'd like to see improved upon in regard to this class.

6.) Specifically what has been the most beneficial aspect of this program for you.

7.) Do you feel better prepared for a student teaching experience as a result of this experience? Please explain.

8.) Any additional thoughts?

102

PRE-EXPERIENCE INTERVIEW

Subject # .

May I record the interview? (yes) (no)

1.) What is your date of birth? .

2.) Are you a resident of Arizona? (yes) (no)

3.) What are your parents occupation? Mother: . Father: .

4.) How did you become interested in education?

5.) What year are you in school?

Do you have any other degrees?

Did you attend any other college besides U of A?_

Where?

6.) What Art Education classes have you taken?

^ARE 130 Appreciating the Visual Arts

^ARE 306 Images and Ideas in the Visual Arts

ARE 330 Foundations of Art Education

^ARE 338L Secondary School Art

ARE 361 Creative Arts Methods

ARE 400 Art for Exceptional Learners

ARE 431 The Teaching of Art

^ARE 434 Multicultural Issues in Art Education

ARE 496a Aesthetics and Criticism Seminar

ARE 496b History and Production Seminar

7.) What education classes have you taken?

^EDP 310 Learning in the Schools

^EDUC 350 Schooling in America

l i t 300 Classroom Processes & Destruction

^LRC 435 Language, Reading, and Culture

^TTE 338L Teaching Art in Secondary School

8.) When will you do your student teaching?

9.) Have you had any teaching experience? Please explain.

10.) Why did you take 338L? What do you hope to gain from it?

11.) Are you around children often? If so, how?

12.) What are yovir future plans?

Do you plan to teach art in the public schools?

Will you pursue a master's degree? In what subject area?

Do you have any minors? In what?

13.) Why do you want to teach art?

14.) How do you see yourself in the role of a teacher?

104

15.) Do you consider yourself an organized person. Why or why not?

16.) How do you plan to put together lesson plans with your team?

How will the team work together to teach the lesson?

17.) Do you think it will be easier to teach with a team, or do you wish you could teach on your own?

18.) Have you plarmed a disdpLine-based lesson before?

19.) What amount (in percentage) do you feel each discipline deserves?

^Aesthetics

^Criticism

^History

^Production

20.) How will you handle discipline problems? What tactics do you believe in?

21.) What would you do in the following scenarios?

Scenario #1: A student is not being disruptive, but is not working on the assigrunent.

105

Scenario #2: A student draws a marijuana leaf in his or her drawing.

Scenario #3: Students are talking during your demonstration and are disrupting other classmates. You have asked them to qmet down both personally and in front of the class, what do you do?

Scenario #4: Two students become verbally abusive to you and/or each other.

22.) What is yoiir opinion on involving the community in an art program?

23.) How do you see yourself getting involved with the parents you will be working for in Wildcat Art?

24.) What constitutes professionalism in an art teacher?

106

POST-EXPERIENCE INTERVIEW

Subject # .

May I record the interview? (yes) (no)

1.) What was your involvement with parents if any? Do you feel as though you established experience working with parents as a result of this experience? If so, how?

2.) How did you solve management problems in the classroom? Do you feel as though you developed a personal discipline style?

3.) Tell me about a discipline problem that you feel that you handled well?

4.) How did you iise organization, meaning distribution of supplies, clean-up procedures, the timely layout of the four disciplines, etc... as way to avoid discipline problems?

5.) How did you put together lesson plans with your team? How much time to each of the four disciplines etc...

6.) How did your team teach the lesson? What area we you held most responsible for? Do you think you will use any of the six artist files you've completed for student teaching?

107

7.) In retrospect, was it easier to teach with a team? Why?

8.) What specific things would you like to see changed regarding this program? What suggestions do you have that would've made this a more enjoyable experience for you.

9.) How has this program benefited you?

10.) What areas do you feel you've grown in? Do you feel better prepared to do your student teaching? What areas will you focus on improving during your student teaching?

11.) Should Wildcat Art remain a part of UA's curriculimi? Why?

12.) What is your summer address so I can forward information to you?

108

FINAL INTERVffiW

Subject . Date: .

May I record the interview? (yes) (no)

1.) How did you work with CFHS staff and administration? What role, if any, did you play at faculty meetings, or other school events that might have help build a rdationship between art and other disciplines?

2.) How was interaction with CFHS staff and admiriistration similar or different to the interactions you had with the Wildcat Art staff?

3.) How did you communicate to either parents, students, school staff, and or the commvmity? For example: art displays, letters home with students, school newsletter, evaluation comments, collaboration with other teachers, or involvement on district-wide or site-specific committees.

4.) How did you solve discipline problems in the classroom? Do you feel as though you have developed a personal discipline style? If so, what is it?

5.) Tell me about a discipline issue or classroom management problem you think you handled well. Tell me about one you would like to have handled differently? How did your experiences in Wildcat Art help to prepare or not prepare you for these kinds of situations?

109

6.) Did you attempt to create a discipline-based curriculiun? If so, how did you do this?

7.) How did you go about orgaruzing your curriculum? Was your curriculum subject to your cooperating teacher's input, or dictation?

8.) Were any of yovir lessons based on published cturiculum? Why or why not?

9.) Do you feel that your lessons were sequential? Was previous learning applied to later lessons, etc...

10.) What kind of assessment strategies did you use?

11.) Did you use any Wildcat Art curriculum? Why or why not?

.12.) What lesson planning strategies, if any, did you practice in your student teaching? (unit files, DBAE lesson plans, downtime activities, etc.)

13.) How did you organize time in lessons? How was time distributed among each of the four disciplines? (lecture vs. studio time)

14.) How far in advance did you prepare and plan for new units (Wildcat Art vs. Student Teaching?)

110

15.) How were supplies distributed? How was space organized in the classroom? (kiln closet, tables, paper, portfolios, projects both current and completed, etc.)

16.) Did you have a budget for materials? How did your budget differ from the Wildcat Art budget?

17. How do you feel that Wildcat Art helped to prepare or not prepare you for yoiir student teaching experience? What was the most important thing you feel like you learned from Wildcat Art (the one that made the biggest difference during your student teaching)?

18. In what area(s): organization, discipline/classroom management, lesson plaiming/curriculvim, or commimity involvement do you feel you've made the greatest growth (strengths). In what area(s) do you need more refinement? Please explain.

19. Do you believe the Wildcat Art program was an important part of your preservice teacher education? Why or why not?

20. What is your permanent address so that I can send you your transcriptions, video tape and a copy of my thesis?

Ill

INTERVIEW RELEASE FORM

Subject # .

I consent to allow the information I gave to Joy T. Smith during an

interview on to be used for research

purposes only. I understand that this information will be held in strict

confidence, and my name will not appear in any of the written work.

In the event that this work is published, I would like , or

not like , a copy of the published article.

I wiU or wiU not , allow Joy T. Smith to read my

journal. I landerstand that if I agree, information that is relevant to her

research may be used.

signed:. dated:.

APPENDIX B

113

PUBLIC RELATIONS COMMITTEE

REGISTRATION Due ART Due

Date EXHIBmON Date • Make a chart of who is First day • Reserve Gallery the entire A.S.A.P

covering which schools for of class Joseph Gross Gjillery for fined the distribution of flyers to art exhibition. eliminate repeats.

• Chart progress - visual board By the • Coordinate Exhibition with Six weeks that shows how many kids second the Gallery director. before the we have from day one on. week of end of the

classes semester

• orgariize a time when the inform st can get access to the class of gallery for hanging. hanging

times. • Check answering machine Through­ • Collect each teaching team's at least 3

daily and return calls of out estimations on space needed weeks inquiry. semester to display work. before the inquiry.

• Organize the display—Assign art show spaces

• Coordiiute incoming Until • Give art show invitations/ one week infoimation: enroll­ announcements to the Dean before (1) Write child's name on ment is and to Andy Polk. show check if different than final parent. • Also place copies in Art one week (2) Alphabetize registration faculty boxes if you'd like. before slips and put grade levels show together. (3) Organize information on scholarships - who received them?

• Prepare confirrtiation mailing Until infonnation: three (1) Registration confirmation days letter — regular pay and before the scholarships (receive from first Sat. ad. Committee) of lab (2) include code of conduct. school release form, and emergency information

114

PUBLIC RELATIONS COMMITTEE (

I REGISTRATION I j ARTEXHlBmON | • Address and send out

confirmation packets A.S.A.P • Reserve a musical act for

final art exhibition 6 weeks before show

• Place directional signs from Park garage. Mountain, Harvill Pkg. Lot to Downstairs Harvill for Registration

By 8:30am on the first

day of lab school

• Organize a Food and drink reception table for the art show

• Decorate table

2 weeks before show

day of the show

• Alphabetize all known registered students by grade level.

• Include boxes for each of the forms sent home with the confirmation letter (a) code of conduct (b) Release Form (c) Emergency Form also: (d) paid fees column

—place at Registration table so that as parents Register their kids, you can mark off that you've received all forms and payments

By the fiist aay of lab

sdiool

By the first day of lab

school

• Figure out graduation areas for each grade level. How will you pass out certificates of achievement?

• Designate an area for Portfolios to be distributed/ collected.

2 weeks before art

show.

Report ideas to the class

• Put together Registration table:

-cover table with paper -decorate with balloons -extra copies of forms -extra pens -box to place paperwork -alphabetized class list to check

off stuff -envelope for checks -distribute Orientation letter

(receive from ad. committee)

by the first day of lab school

• Designate a place for student evaluations with pencils.

• A box to collect parent and student forms.

2 weeks before art

show

• Once all information has been collected at Registration, clean-up area and go to Orientation.

1st day of lab school (9:45am)

• Will you need to distribute t-shirts that were ordered? If so, figure out a way to do this, (see ad. committee for more information.)

3 weeks before show

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PUBLIC RELATIONS COMMITTEE

EiEGISTRATION \ Due Date ^ ARTEXmBUJON | • Alphabetize all information

received during Registration. • Place in grade level binders. • Each binder should have: (a) Attendance Lists (b) Code of Conduct (c) Release Forms (d) Emergency Form also: Figure out who we still need

to either receive money from or get infomiation on.

By the second Sat

of lab school

• Put together a clean-up crew to fix up Gallery after the art show.

at least three to

four weeks in advance

• Type up alphabetized grade lists. Put two boxes per Saturday: (1) attendance (2) check-out at curb

By the second Sat. of

lab school

• Anything else that is needed for this project.

As needed

• Anjrthing else that is needed for this project.

As needed

116

WILDCAT ART SITE COMMITTEE

WHAT NEEDS TO BE DONE? | DUE DATE? \ • Responsible for Orientation on the first day of lab school For duties see page 2.

• Organize and Inventory all Wildcat Art supplies. up a list that includes the item and its location. Hang an inventory list in each supply closet or one for all the cabinets.

A.S-A.P. — Before an order is placed to NASCO for supplies.

• Check off incoming supplies from NASCO order. Add new items to supply list documenting their arrival and their location.

As items arrive

• Reorganize supply shelves once every two weeks after lab school begins. Black out consumed goods to keep supply list updated.

Every two weeks after lab school begins

• Qassroom Envirorunents: Organize materials and determine what is needed. You must make up for the deficiencies.

(1) Rules and consequences for EACH grade level (2) Mobiles (Principals and Elements of Design) one per grade level (3) Art In Our World (Map and Lettering) one per grade level (4) Time Line — one per grade level (5) Roll-up Munils (if people want one. ex: The Color Wheel) (6) Free-time Activity Box/Area

(Art Books, Coloring Worksheets, Art Games, etc...) (7) Anything Else?

Must be completed the week before lab school starts.

• Put together PORTFOLIOS by labeling and stapling them, —one per child (first and last name-correct spelling!) —different colored label for each grade level

(ex. Red=Primary, Blue=Intermediate, Yellow=Secondary, etc...) —get portfolio labels from ad. committee —Make extra portfolios at all levels for late joiners

By the second week of lab school.

• Organize technical support chart List who needs what equipment on each day of lab school If there is overlapping, one must be ordered from Visual Resources by a graduate TA.

One week before lab school begins.

• Create themes for the outside chalk drawings for each Saturday. Report theme to staff at the staff meeting before each Saturday.

• Responsible for all site issues that come up during staff meetings. As needed.

117

WILPCAT ART SITE COMMITTEE pa,.2 |

ORIENTATION \ Due Date • Organize WILDCAT ART!!! cheer for the end of Orientation Week before

classes begin • Organize an area to set up t-shirts to parents and students. Also

have copies of t-shirt order forms available if we run out. (Get t-shirt information from ad. committee)

Week before classes begin

• Coordinate t-shirt sales money and orders during Orientation, (give order forms to ad. committee)

By 1st staff meeting

• Decorate Auditorium: Balloons (1) Write Wildcat Art on the cheilkboard. (2) Rope off staff seats (3) Slide show from past years (?) (4) Music on inside the auditoriiun to create a nice envirorunent. (5) Provide refreshments (coffee, donuts) for students and parents

while they wait.

1st day of lab school

• Take down decorations, etc... after Orientation. Qean up auditorium

when orientation is over.

• Qean up refreshments area. Return items to where they belong. By the end of the 1st day of lab school

• Collect Cheer Cards and give to Lou. By the end of the 1st day of lab school

• Get all balloons together from Registration and Orientation to be distributed to Primary kids.

By 11:30 am

• Take down aU signs that lead people to downstciirs Harvill. (See Registration people — Ad. committee)

• Give them to Lou for safe-keeping.

By the end of the 1st day of lab school

• Anything else that is needed for this project. As needed

118

lAPVERTISING ANP DESIGN COMMITTEE

1 WHAT IS NEEDED? \ DELIVER TO? \ DEADLINE • FLYER - Change format? Update infonnation?

Change Logo? Lou A.S.A.P.

• Type up or Revise confirmation letter on WILDCAT ART letterhead.

(a) Scholarship letter (b) Regular Pay letter

PR Committee By the third week of class.

• Design or Revise letter for Orientation PR Committee One week before the first Saturday of lab school.

• Meike directional signs for Registration (1) From Park Garage to Harvill (2) From Mountain to Heirvill (3) From Harvill Pkg. Lot to Harvill (4) Around Harvill leading to downstairs ramp

PR Committee One week before the first Satvirday of lab school.

• Re-design a WILDCAT ART T-shirt? A.S.A.P, • Order staff WILDCAT ART T-shirts

-Adult sizes S-XL —Quote prices from a variety of printers. —Find the best price and take orders (sizes) from staff. Make sales projection for Orientation. —Place order to printer. —Inventory when they arrive. —Distribute to staff. —Orientation t-shirts should be inventoried, and delivered to PR committee for sale at Reg./Orient.

T-shirts are your project

T-shirts should be ordered at least three weeks in advance for arrival before the first day of lab school.

• Design a WILDCAT ART T-shirt Order Form -Adult sizes S-XL -Child sizes S-L

PR Committee One week before the first day of lab school.

• WILDCAT ART!!! Cheer Cards for Orientation one letter or exclamation point per person.

PR Committee One week before the first day of lab school.

• Design/Revise Portfolio Labels Site Committee On or before the first day of lab school.

• Write a PRESS RELEASE about Wildcat Art program.

Deliver to all Tucson Newspapers

By the second week of UA classes.

• Name Tags: Staff and Students For Students: One color per grade level ex: Red=Primary, Blue=Intermediate, etc...

note: Revisions may need to be made on spellings, etc.

Staff: In Faculty Lounge

Students: On grade level carts

Before the first day of lab school.

119

APVERTISING AND DESIGN COMMITTEE

1 WHAT IS NEEDED? \ DELIVER TO? \ DEADLINE • Make up Grade Level signs to lead students for

orientation, chalk area, and graduation ceremony.

On grade level carts.

Before the first day of lab school.

• Any reminders that need to go home to parents must be prepared by advertising committee.

Photocopy and deliver to grade level teachers.

When needed.

• Write a PRESS RELEASE about Wildcat Art final art exhibition.

Deliver to aU TiKScn Newspapers, incl. Lo Que Pasa, and The Wildcat.

At least two weeks before final art show.

• Design/Revise Final Art Exhibition Invitation and Thank You letter on WILDCAT ART letterhead.

note: Packet should include Invite, Letter, Map to Gross Gallery, and Parent Eveiluation.

Photocopy packets and deliver to grade level teachers.

The last teaching Saturday before the final art show.

• Revise/Re-design new parent and student evaluations?

PR Committee The staff mtg. before the last teaching Saturday.

• Photocopy student evaluations for final art show. PR Committee The last staff meeting before the fined art show.

• Any other advertising related tasks that come up during staff meetings or classes.

As needed.

120

COMMUNITY OUTREACH AND STAFF SUPPORT COMMITTEE

I ACTIVITY I WHAT IS NEEDED? \ DEADUME~| Youth Art Month

(YAM) • Pre-hang at St. Michael's Parish Day School • Good Earth hanging

Month of March

Step-Into-The-Arts

Help hang at the TMA education center Work at tfie Saturday afternoon arts fail sponsored by Step-Into-The-Arts. note: Ceill Colleen Nichols at Manzanita School for more information.

Month of March

SPBUNG FLING • Contact SPRING FLING office to ask if they wUl support an art education experience tent again this year. If so, figure out an adequate budget proposal. WiU they provide a tent, tables and chairs?

• Coordinate public art display if possible. • Organize at least 4 separate do-it-and-take-it

activities. Volimteers from art education can take on these responsibilities. Each Activity leader needs to take on the responsibility of finding an activity, figxuing out what supplies will be needed, and preparing those supplies for that weekend. Enough for at least 200 kids.

• Make up a volunteer work time table. When will you open up and close down? Who will monitor each station? For how long? etc...

• Purchase supplies and distribute them to activity leaders.

• How will materials get to SPRING FUNG tent? Who will collect them at the end of the day?

• See Lou for more details.

SPRING FLING is usually held during the first weekend of April. All work shoiild be completed by the end of March. I'd recommend weekly meetings with all those who are interested in participation at the beginning of February.

Second Sunday • See Lou for details. Qassroom Help • Hanging art displays at Canyon View Elem. and

other Tucson area schools. As needed.

Organize Lesson Plans into Class

Notes

• Each teaching team will give you their three lesson plans and any photocopied information they'd like to share. This will be compiled by grade level and placed in a class notes packet WILEKIAT ART staff can purchase.

Three weeks before the end of the semester.

Organize Lesson Fair

• Each teaching team displays their lessons including their visual resources, sources of irtformation, worksheets, etc... so that each person in the class can get information on that lesson if they would like to.

Near the end of the semester.

121

COMMUNITY OUTREACH AND STAFF SUPPORT COMMITTEE

1 ACTIVITY 1 WHAT IS NEEDED? \ DEADLINE Record issues that

need to be addressed at a

later point

• These are issues that are too large to handle all at once, or cannot be discussed because of time restraints. Compile a list of these topics from each staff meeting and put them in a column entitled Revisited Items xmder the BIN at the next staff meeting.

As needed.

Other items • If things come up that need to be done, it is your job to do that work, even if it seems like it should be another committee's job.

As needed.

122

APPENDIX C

Planning a nisciPltne-Based Art Lesson

Topic/Tltie; Grade: Date: Curriculum Resource: Objective(s):

Aesthetic Scanning/Art History image(s); Artist(s):

Objective(s);

Anticipatory Set: Vocabulary;

Scanning Questions (Guided Practice): Sensory Formal Technical Expressive

Evaluation Criteria; Closure:

Objective(s);. Aesthetics

naterials:

Anticipatory Set; Vocabulary

Demonstration/Activity (Guided Practice):

Independent Practice:

Evaluation Cri teria: Closure;

Otijective(s): Criticism

Materials;

Anticipatory Set; Vocabulary;

Demonstration/Activity (Guided Practice);

independent Practice;

Evaluation Criteria; Closure;

studio Production ODjecLive(s):

i^.atenals;

Anticipatory Set; Vocabulary:

Oemcnstration/Activity (Guided Practice)

inaeoendent Practice:

Evaluation Criteria: Closure:

Wildcat Art Observer Notes

Observers: Date: Grade: Teaching Team: Lesson Objective:

Aeslhclic Scanning | Art History 1 Studio Production | Criticism 1 Aesthetics Sub-Objective

Teaching to the Objective

Monitoring & Adjusting

Aesthetic Scanning Art History

Studio Production Criticism Aesthetics

Anticipatory Set

Active Participation

Motivation

Reinforcement

Retention

Closure

tS Strengths:

Refinements;

Comments:

130

Wildcat Art School

CONTRACT As a Wildcat Art School porticipant, I. agree to follow these rules:

• I will be respectful of other people. • I will try not to hurt other people's feelings. • I will not hurt people. • I will pxjt away the things I take out to use. • I will not use bad language. • I will be responsible for completing the tasks 1 have begun. • I will be patient arvrl watt my turn. • I will not damage WHdcat Art School property or eauipment.

If I do not follow these rules, I agree to these consequences: Rrtf time - Warning Second time - Temporary removal from activity Third tfrne - Temporary removal from activity and porents are informed. Fourth time - Immediate suspension from program until ofter a meeting

with parents, staff, child, and program coordinator has occurred. Rfth time - Dismissal from the Wildcat Art School which may include any future Wildcat Art School programs.

IMPORTANT: Any participant who purposefully hurts another partidpant may be dismissed from the program permanently any time within the five-step process. This w«l be left up to the tfscretlon of the program leaders and the program coordinator.

No refund win be given if a child is suspended or <Jsmissed from the program.

ANY FIGHTING WILL RESULT IN AN IMMEDIATE PHONE CALL TO THE PARENTS AND POSSIBLE SUSPENSION FROM THE AND/OR FUTURE PROGRAMS.

Student's Signature

Parent's Signature _

Date.

Date.

131

EMERGENCY FORM Please print ail information requested. Your child may not be able to partidpate in

the program if the emergency form is not complete.

Participant's Name: Age:

Parents/Guardians' Names:

Address: Z. \ p

Phone Number (where you can be reached during program hours);

Name & Phone Number of another person we can contact in case of an emergency:

Allergies (please list all allergies including food, pollen, medicinal, animal):

M edications (please list all medications including prescription, over the

counter):

M edical Conditions (please list any medical conditions including asthma, diabetes,

epilepsy):

A signature on ONE of the following lines is required to admit your child to the

program. Please read them carefully.

By signing on the following line, you are giving consent to have your child treated in

the case of an emergency, if you cannot be reached.

By signing on the following line, you are indicating that you DO NOT want your

child treated in the case of an emergency.^

132

Release Form Student Name

Age

My child has the permission to leave WildCat Art (Check all that apply) Leave campus on their own Ptaked up only with authorized aduft

Not©: For the safety of your child we may request to check identification of the person picking up your child.

Parent Signature: — Date;

Adults authorized to pick up my child: Name: Name: Name:

Phone:, phone:. Phone:

•s

pfy,

iitll IMI

f « > z w p) !? fr 3 3 fo

n 3 IX fll

§ I

pa n

«!3. tf>

I o 9 •Tl o

Registration deadline:

March 1,1995

Enrollment is limited...

•k Eleven weeks of art

k Low student/teacher ratio

k Family Art Exhibition

WIIMTIIT

Saturday Youth Arts Program

For more in/brnialion please contact:

U of A Art Education Department tr 621-1613

Sponsored bt/:

The University of Arizona Art Education Department

WDMAT AIT

Primary students (grades 1-3) will explore art cultures across the continents. Activities will range from Native American coil pots to decorative Ukranian eggs.

Intermediate students (grades 4-7) will follow a timeline through America's cultural past. Join in adventures across time, from Native American masks to story-telling quilts.

I n k t i n - \ ' c \ l S t c f i :

The Secondary class (grades 8-12) will focus their attention on mastering both traditional and experimental media.

What? The program includes instruction in the Applied Arts, Ceramics, Drawing, Fainting, Printrnaking, and Public Art.

Where? University of Arizona campus in the Art Education Department at the Harvill Building. (2nd & Olive)

When? Saturdays 9:30 a.m. to 12:00 noon. Classes begin March 4th, and end with an art exhibit May 13th.

How Much? $95 per student (Family discounts are available)

Wildcat Art is an art school run by

the students and faculty of the

University of Arizona Department of

Art Education. It is a place where

developing artists can explore the

world of art in an exciting, creative,

and fun learning environment.

Distributed by: .

135

WmOiTilT Saturday Youth Arts Program

Wildcat Art is an art school run btf the students and faculty of the University of Arizona Art

Education Department. It is a place where developing artists can explore the world of art in an

exciting, creative, and fun learning environment.

\u l:u ml:' tlii' \i t WicliL is I

Primary (grades 1-3), Intermediate (grades 4-7), and

Secondary (grades 8-12) students will explore major art movements,

investigate many artistic styles, and

will have the opportunity to

experiment with a variety of

media.

Registration deadline:

March 1,1995 EnwUment is limited...

T e n w e e k s o f a r t • ' I , o w s t u d e n t / t e a c h e r r a t i o - I a m i h A r t l : \ l i i b i t i o n

What? The piogiam includes instniction in the Applied Aits. Cezamks, [^rawing. Pointing, Piintmaldng, and Public Art

Where? Univeisity of Arizona camptis in the Art E^cation Department at the Harvill Building. (2nd&OUve)

When? Saturdays 9:30 ajn. to 12iX) noon-Classes begin March 4th. and end with an art exhibit May 13th.

How Much? $95 per student (Family discounts are available)

O For more mfirrmatum please amtact: U of A Ait Education Department at 621-1613 9

Registration Form

Name: Address: ^City:. State: Zip: ^Phone: School: ^Grade:.

Please return registration with payment to:

University of Arizona Art Department

Attn: Wildcat Art P.O. Box 210002

Tucson, AZ 85721-0002 M a k e c h e c k s p a y a b l e t o : U q f A

136

Staff The di^tor of the Wildcat An program is Lou Garard. She is a member of the Art Education Faculty at the University of Arizona and has been an an specialist in the Tucson area for fifteen years. The assistant director, Joy Smith, is a graduate student in art education and is currently an elementary art educator. The staff of the program consists of sixteen junior, semor, and graduate students. All the students have extensive backgrounds in the visual arts. If you ever have any questions or concerns, all staff members can be reached through the .Art Education Department at 621-1613.

Curriculum/Calendar The Wildcat Art program uses a discipline-based art curriculum. Discipline-based Art Education simply means that your child will not only have a chance to make art (which we will be doing a lot of), but will also look at and examine art, make judgments about what an is. and will explore the history of an and an making. The types of projects we'll be doing include a variety of media at each of the different grade levels. On the back of this information sheet you will find a calendar of the activities we have planned and the flarpy in which they will be completed. Some projects may be changed due to unforeseen circumstances.

Drop Off and Pick Up Area Beginning March 4th, smdents can be dropped off and picked up at the drop off point in the Harvill parking lot (please see the map below for the specific location). Wildcat Art staff members will be there to escort" your child to the classrooms and to wait with them for your arrival after class. All staff members will have a badge identifying themselves and will ask smdents their name as they arrive and leave each Saturday to ensure their safety. Please do not allow your child to go directly to the classrooms and/or do not leave your child with any adults except those identified as staff members. Staff members will be at the specified location for drop off from 9:15 to 9:30 and for pick up from 12:00 to 12; 15. If you are later than 12:15 your child will be in the Art Education office, located in the Harvill Building room 126. If someone other than yourself is picking up your child, the staff must have your signed written permission to release vour child.

Parte

Olive

Hatvfll 1 ^OropORi

1 Pick Uo Area

Palm

Mountain

137

Supervision Each classroom will have approximately six staiT members in it at all times. Three staff members will teach the lesson while three others will be available to assist the teaching team. If your child needs to leave the classroom at any time for any reason, a staff member will stay with them.

Health Room The Art Education office will be used as a health room if the need arises. We have minor medical supplies to treat cuts and scrapes and standard practices are in place for dealing with more serious situations. During registration parents were asked to turn in a health card for each child. Please make sure that on that card you've indicated any allergies or special circumstances thjit might apply to your child. In the event of an illness or accident we will call the people listed on your child's health card to pick up your child for treatment.

Art Exhibition On our last scheduled class. May 13. there will be an art exhibition from 10:30 undl 12:00 noon in the Joseph Gross Galler>' on the University of .Arizona campus. The students' work from the Wildcat Axt program will be kept until that time in order to put the show together. All student an work will go home with the students at the end of the exhibition. Light refreshments will be served and we invite parents and friends to attend. More specific information will be sent home with your child as the event draws near.

Calendar of Activities

;Mai^pthi'v Australia: Aboriginal

Cave Painting

Clay TUes Still-life Drawing

^arcfcl'Sttrr, Asia; Fish Printing

Pacific Northwest Coast Eskimo Masks

Pablo Picasso: Painting and Collage

"MarGlt25tfci-&-AprijE I.­

Europe: Ukrainian Eggs

Relief Sculpture Jenny Holzen Clay Tmisms

April April 15th.

South America Harlem Renaissance: Jacob Lawrence

Japanese Printmaking

April 22nd Africa: Clay Tiles

Faith Ringgold Story Quilts

Graphic Design

April 29th. &: May"6ih^

North America: Pinch Pots

Memorial and Commemorative

Plaques

Book Making

May ISth .Art Exhibition at the Joseph Gross Gallery

APPENDIX D

Figure 1: Two primary students display their tribal cards during

an Austrailian cave painting xmit.

Figure 2: A Wildcat Art staff member assists Intermediate

students with their story quilts.

Figuie 3: Secondary students create a value study using charcoal.

Figure 4: A Wildcat Art staff member helps a child with his paper weaving during a uruversity sponsored family day on The Uruversity of Arizona campus.

Figure 5: Both parent and child stop to admire

ceramic vessels displayed at the VA^dcat Art Student Art Exhibition.

142

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