As I began to read this chapter, I realized how very little we know about the boys with whom we have begaun working at Ridgeway Elementary. The historical research I have accomplished to date has dealt with the instructional strategies we are employing and not with the boys themselves. As I recognize this, I realize how much information I need to acquire in a very short time and I can't help but feel overwhelmed. I am learning what solid research requires through the "School of Hard Knocks" it seems!
The authors describe the extensive and thorough historical research they have engaged in to help them understand Stacy, her academic and social behaviors, her struggles. In the short period of time we have to work with these boys, it will be impossible to "know" the 27 of them as intimately as the authors know Stacy, no matter how hard we try. In light of this, I'm wondering if we should narrow our focus to one case study in order to understand the dynamics of what occurs for one student over the coming weeks? Becasue we will be simultaneously examining the progress of the other boys, maybe our findings for one could then be generalizable to the group. I'm wondering, too, if what kind of access to student records we will have as we strive to understand these students. We will clearly be handicapped by time and will simply have to do the best we can with the time we have.
As an aside, I appreciated the authors' discussion of methods and methodology. I think I had a sense of the distinction, but hadn't seen it defined clearly before. This will help me use it properly as I write in the future.
Mindwork: Count, Measure, Chart
Quantitative research is discussed in this Chapter and the related Mindwork challenges us to identify something related to our research that can be quantified. Pre and Post VTS writing samples came immediately to mind as I read this challenge. First, students are shown an image and given the VTS question prompts in writing without discussion. No additional information is given. Writings are then collected (they are the data) and analyzed. Word count, use of adjectives, instances of conditional language, and reasoning based on evidence are the characteristics of the writing that are then quantified. Subsequently, after a periodA of regular and vigorous VTS lessons (usually 7 months or so of a K-5 school year) , students are shown the pretest image again and asked to respond in writing to the same 3 question prompts . The post-VTS characteristics are counted and compared to the pretest data for each student. Significant differences are looked for. I would like to do a mini-version of this with our Ridgeway boys. Drawings could be analyzed as well as writings and quantified. Things such as the number of details, the number of colors, even the number of engagement minutes could be counted pre and post treatment to test of significant positive change. It is surprising how many possibilities there are to quantify creative production! It would be fun to have the opportunity to work with the Ridgeway Boys Writing Club next school year; to do pre and post VTS assessments to document growth.
In their discussion on Ethnographic Approaches, the authors explain that "while ethnographers enter a culture as outsiders, their goal is, over time, to understand the perspective of insiders;" to simultaneously take on the roles of particpant and observer. Again I am overwhelmed at the recommendation; challenged really to construct, analyze, and discuss the culture to which a research participant belongs....times 27. I'm afraid that is realistically beyond our grasp with the Ridgeway boys. I do recognize the value of that luxury, though. I'm know it would be fascinating.
In short, ethnographic research requires time and thoroughness for careful observation and documentation of what is observed about the subject(s) in the various social environments and contexts in which he/she lives.
Mindwork: Ethnographic Observation
I don't have the luxury of visiting a collegues classroom this year. Teaching Assistant colleagues, like myself, use shared classrooms not of their own design. Therefore, I will respond as nearly as possible to the "classroom" environment in which we are working with the boys at Ridgeway.
1. The library environment is colorful and inviting. Books, of course, line the walls and bulletin boards feature recommended books for students to consider. Wooden tables are grouped in the center of the room, a colorful carpet invites students to sit on the floor when the Smartboard is in use. Reading nooks are scattered throughout the space. As we utilize this space, Mr. Tilley remains vigilant, but not as the primary instructional figure when we are presenting in the library. In contrast, the classroom environment we use for writing is somewhat colorless with light floor, walls, and whiteboard. I do see that Mr. Tilley has posted examples of students' drawings here and there. I know it makes the kids feel proud. Rectangular student tables are clustered in the center of the room and perpendicular to the whiteboard implying structure and facilitating interaction. The most "special" items in the classroom space are the sketchbooks stacked on a table by the door. (Could be that I am biased! =0) Mr. Tilley moves around freely between students as they are drawing. in the classroom space; the graduate students do the same.
(I will try to do the 5-minute observation of a single student on our next visit. My videotaped observations so far are of the group working and informal discussions about students drawings and writings.)
The authors discuss Cultural Critique as a form or research that is guided by an ideological or political agenda. Sensitivity to issues of race, gender, ethnicity, power, and class is excercised as these themes are examined, although the authors warn that such cultural considerations cannot be the sole focus. They tell part of a student's story, but not the whole story. I will have to ponder this before our next Ridgeway visit.
Monday, February 28, 2011
Saturday, February 12, 2011
Chapter 5: Legwork
The authors likened the acquisition of research data to the collection of any other item by a true collector; the more we collect, the more we want to know about the collection we possess. They acknowledge the acquisitional passion of collectors in general as well as the need to rate the quality of each collected piece. Sifting through items in a collection and discarding or replacing pieces that are inferior or even counterfeit is the process by which collectors arrive at a collection that is truly of value. The same can be said of data collection for research.
The research process begins with the research question and the authors suggest that the best place to begin data collecting to test that question is with an informational source that we already possess. For me, it would be the pages and pages of VTS research and articles that I have collected over the past 5 years. Legwork for me (and for all who embark upon the research journey) will be to expand and broaden my research base as I set the groundwork for our study of Ridgeway elementary boys' writing. Several of the resources I discovered during the Googleography phase of my investigation came to mind immediately during our initial meeting yesterday with the Ridgeway principal, Mr. Tilley. These are articles and book chapters which appear to directly connect pedagogical dialog with literacy. Other resources will clearly come from Mr. Tilley and regular classroom teachers that regularly work with these struggling writers. Prior assessment data and pre-intervention data we collect will likewise be valuable. And the boys themselves must not be overlooked! They will be the richest data source; their commentaries about where they are right now, how they finish at the conclusion of the study and of course all of the discussions, writing and drawing experiences we document in between! I am looking forward to meeting them and beginning our work together!
Chiseri-Strater and Sunstein discuss the researcher as his/her own data source. This data would take shape through research journals, logs, and reflective practices. It will be a challenge for me to keep these kinds of written records consistently since this form of personal recordkeeping is not second nature to me. I do recognize the importance of doing this thoroughly and well, however. I'm sure insights, connections, and patterns will be detected during journal review that aren't immediately discernable as they occur. By recording each step of the journey, valuable information and findings are less likely to be lost or overlooked.
The authors also discuss student work and student histories as data sources. I have to wonder how much of this will be available to us as we enter this study? I felt like Mr. Tilley would support us in our desire to have this information, but we will not have the luxury of working with these boys daily as the regular classroom teacher does. Will these busy teachers be forthcoming? Will an incomplete "picture" of any one of these students handicap us in anyway? How hard will it be for us to fill in informational gaps? I'm thinking it would be a good idea for us to keep a folder for each individual student as we collect relevant information. If I see something unusual or spectacular occurring with any one of them, my research focus could change from the group to what is occurring with that one individual student, too. I must leave the door open to that possibility.
Interviews and archives are the most intriguing data sources for me; two categories which offer possibilities I had not considered exploring before this reading. My Mindwork for this chapter, therefore involves 4 data sources from these catagories that could enrich by study as I move forward.
The first data source I had not really considered as such is the collected notes on informal conversations with students. My experience with students is that they often reveal much more than we expected when we engage them in informal "chit-chat." Carefully documented conversations of this type would enrich the study by putting the learning experience into the students' own words which we will be able to cite later and certainly constitute a primary source of data! This will add authenticity and validity to the research as we report it. This will need to be collected onsite as we working with students, probably as we stop with each and ask them to tell us about their drawing or their writing. The most valuable comments, too, could be the ones of students who are "stuck," giving us insight into their thinking and sources of any frustrations.
A second data source I had not fully considered before now are anecdotal records from former teachers. Current teachers, I had certainly thought about interviewing, but had not looked further back than that. It does make sense, though. I am sure that the struggles of these students have a history. What better way to document patterns or even discover the source of a student's difficulties than to speak with teachers who have worked with them daily during the course of an academic year. I anticipate that this would require an interview or at least an email outside of the time when we are working directly with the students. I would assume this would be acceptable with the principal, Mr. Tilley, since it will impact out ability to assess the students' past and progress. It is communication that will be in the students' interest.
Museum collections and museum websites for kids are two data sources I had perceived in a much more restricted fashion and regarded solely as instructional REsources. As I reconsidered them during the reading, it occurred to me that as prompts for a variety of responses by students that would provide valuable information on their thinking and their growth, they are actually both. Responses in the forms of individual commentary, drawings, writings, and group discussions are certainly crucial data! It will be our job to select the appropriate experiences from tthe UMMAA collection and the many quality art webistes first (the instructional REsources) and then examine the verbal and non-verbal responses they generate; the data they produce as sources.( Sometimes I can't see the forest for the trees)!
The research process begins with the research question and the authors suggest that the best place to begin data collecting to test that question is with an informational source that we already possess. For me, it would be the pages and pages of VTS research and articles that I have collected over the past 5 years. Legwork for me (and for all who embark upon the research journey) will be to expand and broaden my research base as I set the groundwork for our study of Ridgeway elementary boys' writing. Several of the resources I discovered during the Googleography phase of my investigation came to mind immediately during our initial meeting yesterday with the Ridgeway principal, Mr. Tilley. These are articles and book chapters which appear to directly connect pedagogical dialog with literacy. Other resources will clearly come from Mr. Tilley and regular classroom teachers that regularly work with these struggling writers. Prior assessment data and pre-intervention data we collect will likewise be valuable. And the boys themselves must not be overlooked! They will be the richest data source; their commentaries about where they are right now, how they finish at the conclusion of the study and of course all of the discussions, writing and drawing experiences we document in between! I am looking forward to meeting them and beginning our work together!
Chiseri-Strater and Sunstein discuss the researcher as his/her own data source. This data would take shape through research journals, logs, and reflective practices. It will be a challenge for me to keep these kinds of written records consistently since this form of personal recordkeeping is not second nature to me. I do recognize the importance of doing this thoroughly and well, however. I'm sure insights, connections, and patterns will be detected during journal review that aren't immediately discernable as they occur. By recording each step of the journey, valuable information and findings are less likely to be lost or overlooked.
The authors also discuss student work and student histories as data sources. I have to wonder how much of this will be available to us as we enter this study? I felt like Mr. Tilley would support us in our desire to have this information, but we will not have the luxury of working with these boys daily as the regular classroom teacher does. Will these busy teachers be forthcoming? Will an incomplete "picture" of any one of these students handicap us in anyway? How hard will it be for us to fill in informational gaps? I'm thinking it would be a good idea for us to keep a folder for each individual student as we collect relevant information. If I see something unusual or spectacular occurring with any one of them, my research focus could change from the group to what is occurring with that one individual student, too. I must leave the door open to that possibility.
Interviews and archives are the most intriguing data sources for me; two categories which offer possibilities I had not considered exploring before this reading. My Mindwork for this chapter, therefore involves 4 data sources from these catagories that could enrich by study as I move forward.
The first data source I had not really considered as such is the collected notes on informal conversations with students. My experience with students is that they often reveal much more than we expected when we engage them in informal "chit-chat." Carefully documented conversations of this type would enrich the study by putting the learning experience into the students' own words which we will be able to cite later and certainly constitute a primary source of data! This will add authenticity and validity to the research as we report it. This will need to be collected onsite as we working with students, probably as we stop with each and ask them to tell us about their drawing or their writing. The most valuable comments, too, could be the ones of students who are "stuck," giving us insight into their thinking and sources of any frustrations.
A second data source I had not fully considered before now are anecdotal records from former teachers. Current teachers, I had certainly thought about interviewing, but had not looked further back than that. It does make sense, though. I am sure that the struggles of these students have a history. What better way to document patterns or even discover the source of a student's difficulties than to speak with teachers who have worked with them daily during the course of an academic year. I anticipate that this would require an interview or at least an email outside of the time when we are working directly with the students. I would assume this would be acceptable with the principal, Mr. Tilley, since it will impact out ability to assess the students' past and progress. It is communication that will be in the students' interest.
Museum collections and museum websites for kids are two data sources I had perceived in a much more restricted fashion and regarded solely as instructional REsources. As I reconsidered them during the reading, it occurred to me that as prompts for a variety of responses by students that would provide valuable information on their thinking and their growth, they are actually both. Responses in the forms of individual commentary, drawings, writings, and group discussions are certainly crucial data! It will be our job to select the appropriate experiences from tthe UMMAA collection and the many quality art webistes first (the instructional REsources) and then examine the verbal and non-verbal responses they generate; the data they produce as sources.( Sometimes I can't see the forest for the trees)!
Chapter 4: Headwork
Headwork is all about perspective as a researcher; examining ourselves and our assumptions as we move forward in our research. The authors talk about the need to be both an insider and an outsider; of stepping in with an "emic" stance and stepping out as we assume an "etic" stance. Both of these points of view will help us thoroughly understand our research topics, their contexts, and what we as researchers bring to the investigative task.
Exploration of the emic and etic stances that must be assumed simultaneously requires asking the following questions:
Assuming an EMIC STANCE...
* Who am I with relation to this research? Of course first and foremost I am an outsider looking in on this educational setting, school culture, and the learning lives of the young boys that will be the subjects of this investigation. I am a curious onlooker who truly wants to find answers that will impact the field of art education as well as the children whose learning I will be striving to impact. I am both a teacher and a learner who expects to gain much from this experience and hopefully an educator who will make a difference for these boys.
* My academic heritage, I can only assume, is quite different from that of these children. I am the daughter of a highly educated career math & science teacher who has always participated actively in the arts. My dad taught for 40 years at a military academy, so there is a good deal of discipline infused into my academic heritage as well. Perhaps that makes the contemporary concept of student choice somewhat foreign for me. I come from an academic environment with high achievement expectations and assumptions that I would value learning. I accepted these values and expectations unquestioningly and have not regretted having done so.
* My school experience consisted of K-12 traditional public education in a midwestern town of 12,000 where I belonged to the middle class. Physical safety or insecurity were never major concerns. As an introvert, I can remember spending lots of time alone, but did not feel lonely. My circle of friends was small although I was regarded positively by classmates; was never bullied and chose non-participation in school activities over involvement in activites in which I did not excell or that would have made me feel interior. My teachers were capable; a few were even above average, although I can't remember many that seemed personally interested in my success until I got to the college level. I did my job; they did their's. Expressive arts courses (literature, writing, art, music, foreign language) were where I excelled. I liked science; cared less and less for math as I moved up in school. Without knowing anything about the students with which we will be working in this research project, I can only imagine that their school experiences are less positive than mine have been and probably with less familial support. I will need to revisit this topic once we know more about them for a more adequate comparison.
*My likes as a teacher include relative quiet, organization, order, predictability, a plan. When I feel in control of the things I have the power to control, I am more resilient and flexible in the face of the unpredictable which children and school environments definitely are. I like teachable moments and the look on a child's face when the "lighbulb" goes on or when learning excites them. My likes as a student are along the same lines. I like to be challenged and I like the exhileration of achieving what was thought to be the impossible. I like to work hard, to discover new things, and to share my learning and passions with others. Dislikes? On a personal level, I don't like feeling overwhelmed or out of control or to fall behind. I don't like to feel that I've done less than my best. As a teacher, the same dislikes apply
*I am excited about acquiring and sharing new knowledge and as any artist, creating something that was not before. Novel approaches, "aha!" moments, and suddenly recognizing an important connection are all exciting to me. Boring for me is always doing the same thing and in the same way. Also social events that don't challenge me intellectually or require passivity and inactive participation.
Assuming an ETIC STANCE...
Until I get to meet with the Ridgway Elementary principal and fully understand the challenge we are about to undertake, I can't fully report on what I see as an outsider or any larger issues we will need to consider. Essentially, I don't feel informed enough to explore my position in relationship to this study from an etic stance.
Likewise, I will need to reflect upon what surprises , intrigues, and disturbs me as we move forward with this research project.
Finally, the authors discuss the importance of research ethics and suggest an online search of ethics statements offered by different associations. In doing this, I saw a great variety in formats (Int'l Association for the Study of Dreams, Stem Cell Research Ethics, Recommendations for Whole-Genome Research), but did recognize similarities in their adherence to the three basic principles offered by the Belmont Report of 1979. In similar adherence, I wrote my own ethics statement:
Exploration of the emic and etic stances that must be assumed simultaneously requires asking the following questions:
Assuming an EMIC STANCE...
* Who am I with relation to this research? Of course first and foremost I am an outsider looking in on this educational setting, school culture, and the learning lives of the young boys that will be the subjects of this investigation. I am a curious onlooker who truly wants to find answers that will impact the field of art education as well as the children whose learning I will be striving to impact. I am both a teacher and a learner who expects to gain much from this experience and hopefully an educator who will make a difference for these boys.
* My academic heritage, I can only assume, is quite different from that of these children. I am the daughter of a highly educated career math & science teacher who has always participated actively in the arts. My dad taught for 40 years at a military academy, so there is a good deal of discipline infused into my academic heritage as well. Perhaps that makes the contemporary concept of student choice somewhat foreign for me. I come from an academic environment with high achievement expectations and assumptions that I would value learning. I accepted these values and expectations unquestioningly and have not regretted having done so.
* My school experience consisted of K-12 traditional public education in a midwestern town of 12,000 where I belonged to the middle class. Physical safety or insecurity were never major concerns. As an introvert, I can remember spending lots of time alone, but did not feel lonely. My circle of friends was small although I was regarded positively by classmates; was never bullied and chose non-participation in school activities over involvement in activites in which I did not excell or that would have made me feel interior. My teachers were capable; a few were even above average, although I can't remember many that seemed personally interested in my success until I got to the college level. I did my job; they did their's. Expressive arts courses (literature, writing, art, music, foreign language) were where I excelled. I liked science; cared less and less for math as I moved up in school. Without knowing anything about the students with which we will be working in this research project, I can only imagine that their school experiences are less positive than mine have been and probably with less familial support. I will need to revisit this topic once we know more about them for a more adequate comparison.
*My likes as a teacher include relative quiet, organization, order, predictability, a plan. When I feel in control of the things I have the power to control, I am more resilient and flexible in the face of the unpredictable which children and school environments definitely are. I like teachable moments and the look on a child's face when the "lighbulb" goes on or when learning excites them. My likes as a student are along the same lines. I like to be challenged and I like the exhileration of achieving what was thought to be the impossible. I like to work hard, to discover new things, and to share my learning and passions with others. Dislikes? On a personal level, I don't like feeling overwhelmed or out of control or to fall behind. I don't like to feel that I've done less than my best. As a teacher, the same dislikes apply
*I am excited about acquiring and sharing new knowledge and as any artist, creating something that was not before. Novel approaches, "aha!" moments, and suddenly recognizing an important connection are all exciting to me. Boring for me is always doing the same thing and in the same way. Also social events that don't challenge me intellectually or require passivity and inactive participation.
Assuming an ETIC STANCE...
Until I get to meet with the Ridgway Elementary principal and fully understand the challenge we are about to undertake, I can't fully report on what I see as an outsider or any larger issues we will need to consider. Essentially, I don't feel informed enough to explore my position in relationship to this study from an etic stance.
Likewise, I will need to reflect upon what surprises , intrigues, and disturbs me as we move forward with this research project.
Finally, the authors discuss the importance of research ethics and suggest an online search of ethics statements offered by different associations. In doing this, I saw a great variety in formats (Int'l Association for the Study of Dreams, Stem Cell Research Ethics, Recommendations for Whole-Genome Research), but did recognize similarities in their adherence to the three basic principles offered by the Belmont Report of 1979. In similar adherence, I wrote my own ethics statement:
Research Ethics Statement
Mary Franco
As a graduate student and art education researcher at the University of Missouri, I recognize, acknowledge and support the basic human rights of all individuals participating in any present and future research under my direction and/or supervision and pledge to abide by all recommendations of the 1979 Belmont Report.
Respect for any and all individuals participating in or associated with my research is of utmost importance to me. I therefore pledge to seek only voluntary participation in all of my research endeavors and that such participation will be consistently based on thorough communication and informed consent.
I pledge also to keep beneficence at the forefront of my research proceedings, striving in all study activities to actively protect participants from any and all threats to their physical and emotional well-being. Perceived risks to participants or their well-being will always be thoroughly considered and judiciously weighed in light of potential research gains.
Finally, I pledge to consistently apply principles of justice in all aspects of my research including insurance of unbiased and random sampling procedures at all times. This will ensure respect for the social and individual integrity of all research participants while increasing the likelihood of findings that are generalizable and beneficial to the larger population from which study participants are derived.
Wednesday, February 9, 2011
Part 2 of Bridgework
The authors suggest that action researchers learn from their colleagues, specifically conversations with other teachers. These may be local or include long distance collegial support. Such communications should be recorded as part of a working bibliography. This idea has caused me to expand my interpretation of a bibliography, past the boundaries of traditional print and media sources to dialogues with fellow teachers, researchers, and of course, professors and doc students!
It was difficult to limit the amount of time spent working on the Google-ography. Its so easy to get swept into cyberspace and have 3 hours pass without realizing it!
As per the suggestion of the authors in "What Works?", I clustered my Google-ography items by topics. This was dictated more by my keyword searches than by a purposeful attempt to catagorize them. At this point, the keywords that I found most promising for forming an informational base for our anticipated work with Ridgeway Elementary boys are dialogic learning, Visual Thinking Strategies, and the Art and Literacy Connections. Based on this, my Google-ography is as follows:
DIALOGIC LEARNING
It was difficult to limit the amount of time spent working on the Google-ography. Its so easy to get swept into cyberspace and have 3 hours pass without realizing it!
As per the suggestion of the authors in "What Works?", I clustered my Google-ography items by topics. This was dictated more by my keyword searches than by a purposeful attempt to catagorize them. At this point, the keywords that I found most promising for forming an informational base for our anticipated work with Ridgeway Elementary boys are dialogic learning, Visual Thinking Strategies, and the Art and Literacy Connections. Based on this, my Google-ography is as follows:
DIALOGIC LEARNING
Alfassi, M. (2009). The efficacy of a dialogic learning environment in fostering literacy. Reading Psychology, 30:6
pp. 539-563. Retrieved February 9, 2010 from http://proxy.mul.missouri.edu:2164/ehost/pdfviewer/pdfviewer?hid=11&sid=5e932df8-b80f-494e-a4d0-1a08139d1c35%40sessionmgr15&vid=2
This source contains specific information that should help in connecting VTS to literacy enhancement.
Frijters, S., ten Dam, G., Rijlaarsdam, G. (2008). Effects of dialogic learning on value-loaded critical thinking.
Learning and Instruction, Vol. 18, Issue 1, pp. 66-82. Retrieved February 9, 2011 from http://proxy.mul.missouri.edu:2159/science?_ob=ArticleURL&_udi=B6VFW-4MYMNV3-2&_user=3419478&_coverDate=02%2F29%2F2008&_rdoc=1&_fmt=high&_orig=search&_origin=search&_sort=d&_docanchor=&view=c&_acct=C000049994&_version=1&_urlVersion=0&_userid=3419478&md5=b488c8f8850cf0aa0ca46af36abfd464&searchtype=a
This source is praticularly appealing since it addressed critical thinking specifically.
Van der Linden, J. & Renshaw, P. (2004). Dialogic Learning Shifting Perspectives to Learning, Instruction,
and Teaching ISBN 978-1-4020-1930-2
This appears to be a book that could yield significant information about the relationship between
speaking and thinking and the role of dialogue in thinking development. The book is quite pricey,
Retrieved February 9, 2011 from http://proxy.mul.missouri.edu:2100/lib/umcolumbia/docDetail.action?docID=10088585
Wang. S. & Grant, R. (2009). Nurturing Cultures of Peace with Dialogic Approaches to Language and Literacy.
TESOL in Context, Vol. 19, Issue 2, pp. 4-17. Available through ILL@MU
I felt this article could prove helpful as some of the boys in the target group may be ESL students.
VISUAL THINKING STRATEGIES
Housen, A. (2002) Aesthetic thought, critical thinking, and transfer. Arts and Learning Journal, Vol 18, No. 1 Retreived February 7, 2011 from
Yenawine, P. (1998). Visual art and student centered discussions. Theory Into Practice, Vol 37, Issue 4 p. 314
Retrieved February 7, 2011 from http://proxy.mul.missouri.edu:2164/ehost/detail?hid=11&sid=da73efad-9dd2-4503-97c9-0d46025938e3%40sessionmgr13&vid=2&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=buh&AN=1393396
CHILDREN’S ART & LITERACY CONNECTIONS
Paquette, K. R., Fellow, S.E., and Jalongo, M.R. (2007) The talking drawings strategy: Using primary children’s I llustrations and oral language to improve comprehension of expository text.
As I selected each of these for my Google-ography/Working Bibliography, I considered the 4 basic criteria for evaluation. The list appears to consist of research sources that demonstrate authority/reliability in that they are taken from books, professional journals, and informational websites. With the exception of the Yenawine article (Visual Thinking Strategies), all were published in this decade and therefore meet the standard of currency. Admitedly cursory reading of each suggests that they are quality articles which are also accurate and well-documented. Finally the intended audience consists primarily of educators, so no ulterior motive is suspected.
Review of the entries which currently appear on my Google-ography, I see that while currency does not appear to be an issue, continued internet searches will be required to supplement the art and literacy connections section. At this time, it is uncertain as to whether any of the sources might be eliminated. More thorough reading will be needed to determine this. Also, as the research unfolds, certain resources may prove no longer useful while addition research topics and needs are bound to appear.
At this time, the only modification I see that might be needed for my research question is changing "student centered art discussion" to "dialogic learning" which seems more specific and relevant. Also, more searchable. Therefore, the central research question is, "Does VTS (dialogic learning methodology) impact the literacy skills of underachieving K-5 boys in observable ways?" Perhaps "literacy skills" should also be changed to specifically writing, since that is the focus area for the principal, Mr. Tilley, with whom we will be working.
Tuesday, February 8, 2011
Chapter 3: Bridgework
I'll preface my reflections on Chapt 3 by saying that not being in a K-5 art room this year makes some of the questions difficult. It doesn't seem particularly useful to apply these questions to past groups of students; my memories may not be accurate and whatever research decisions and choices I might make based on those groups of students from my recent past would not have practical application or opportunities to test hypotheses. What I am left with is to speculate about a group of underachieving elementary aged boys that we will be proposing to work with. Because we have yet to collect information about this group of student with whom we anticipate working, my answers may not be totally accurate. Revisions, then, to my current thinking will be inevitable. But here goes anyway!
At this point, my research question is:
Does VTS (student-centered art discussion) impact the literacy skills of underachieving K-5 boys in observable ways?
At this time, my subquestions include:
How do these students approach and/or engage in VTS discussions initially? Does this change over time?
Are these students initially motivated to particpate in VTS discussions? Does this change over time?
Are any literacy behaviors impacted by frequent VTS discussions?
Is there any observable transfer of VTS-related behaviors to other contexts and/or contents during the study?
Is there any type of qualitative change in the art production of these students during thecourse of the study?
My answers to the exercises for the remainder of the "What Works" chapters will be based on the research question and subquestions I have stated.
Mindwork: Discover What You Know
My history includes extensive training in VTS and experience using it with many types of participation groups from heterogeneous K-5 art classes to general ed and art ed college students in their 20s & 30s to museum docents whose ages range from their 30s to 60s and perhaps beyond. During the 8 years I taught in Blue Springs, I also acquired a significant amount of knowledge related to K-5 literacy and integration of the visual arts across the curriculum and English as a Second Language instruction through inservices, workshops, college courses and personal research.
This history I described above has enhanced my knowledge of different types of teaching. It has informed me of the philosophical and theoretical foundations of VTS and given me the opportunity to observe/learn from the constructivist method as enacted it in my teaching. My history has also given me an understanding of K-5 literacy objectives, instructional approaches, and helped me to see how visual art can enhance core content learning while maintaining its integrity as a discipline.
Literatuare I have read and liked includes VTS research and VTS publisehd articles from various sources including Abigail Housen's research "The Eye of the Beholder" and "Aesthetic Thought, Critical Thinking, and Transfer" as well as Philip Yenawine's "Theory Into Practice: The Visual Thinking Strategies" and "Jumpstarting Visual Literacy." I have also read "Mosaic of Thought" by Elin Keene which analyzes reading comprehension and how to teach it and "Comprehending Math" by Arthur Hyde which applies Keene's literacy approach to mathematics. I've also explored Pearson & Gallagher's "Gradual Release of Responsibility."
What I have noticed that might make students embrace the VTS is that they love to be asked to talk and give their opinions about art in the visual arts classroom. The method encourages respectful, democratic discussion and they appear to like that as well. My evidence of this comes from the fact that they seem to welcome opportunities to "VTS" images, participate fully and enthusiastically, and are often sorry when I have to wind up a discussion.
Curriculum goals related to verbal communication, analyzing visual text, synthesizing and applying information from other content areas into art viewing are all addressed with VTS.
Based upon the above information, the sources I already know that I might consult in my research are VTS research sources available as downloads from the VTS website. As the result of my VTS training and regular communication with members of the training and adminstrative staffs, I have a resource list of highly qualified individuals including VTS co-founder Philip Yenawine and Abigail Housen's research assistant Karin DeSantis. Locally, Dr. Kathy Unrath and Dr. Carol Gilis, are highly qualified and interested mentors and sources of art and literacy related information. (And, as distinguished member of Mizzou faculty, they can refer me to other qualified individuals at various research questions and needs arise.)
Sources of addition information will be internet and library searches. I will also examine bibliographies attached to the literature sources I have listed above.
(Stay tuned for part 2 of this....It is now 1:47 am and I MUST get some sleep!)
At this point, my research question is:
Does VTS (student-centered art discussion) impact the literacy skills of underachieving K-5 boys in observable ways?
At this time, my subquestions include:
How do these students approach and/or engage in VTS discussions initially? Does this change over time?
Are these students initially motivated to particpate in VTS discussions? Does this change over time?
Are any literacy behaviors impacted by frequent VTS discussions?
Is there any observable transfer of VTS-related behaviors to other contexts and/or contents during the study?
Is there any type of qualitative change in the art production of these students during thecourse of the study?
My answers to the exercises for the remainder of the "What Works" chapters will be based on the research question and subquestions I have stated.
Mindwork: Discover What You Know
My history includes extensive training in VTS and experience using it with many types of participation groups from heterogeneous K-5 art classes to general ed and art ed college students in their 20s & 30s to museum docents whose ages range from their 30s to 60s and perhaps beyond. During the 8 years I taught in Blue Springs, I also acquired a significant amount of knowledge related to K-5 literacy and integration of the visual arts across the curriculum and English as a Second Language instruction through inservices, workshops, college courses and personal research.
This history I described above has enhanced my knowledge of different types of teaching. It has informed me of the philosophical and theoretical foundations of VTS and given me the opportunity to observe/learn from the constructivist method as enacted it in my teaching. My history has also given me an understanding of K-5 literacy objectives, instructional approaches, and helped me to see how visual art can enhance core content learning while maintaining its integrity as a discipline.
Literatuare I have read and liked includes VTS research and VTS publisehd articles from various sources including Abigail Housen's research "The Eye of the Beholder" and "Aesthetic Thought, Critical Thinking, and Transfer" as well as Philip Yenawine's "Theory Into Practice: The Visual Thinking Strategies" and "Jumpstarting Visual Literacy." I have also read "Mosaic of Thought" by Elin Keene which analyzes reading comprehension and how to teach it and "Comprehending Math" by Arthur Hyde which applies Keene's literacy approach to mathematics. I've also explored Pearson & Gallagher's "Gradual Release of Responsibility."
What I have noticed that might make students embrace the VTS is that they love to be asked to talk and give their opinions about art in the visual arts classroom. The method encourages respectful, democratic discussion and they appear to like that as well. My evidence of this comes from the fact that they seem to welcome opportunities to "VTS" images, participate fully and enthusiastically, and are often sorry when I have to wind up a discussion.
Curriculum goals related to verbal communication, analyzing visual text, synthesizing and applying information from other content areas into art viewing are all addressed with VTS.
Based upon the above information, the sources I already know that I might consult in my research are VTS research sources available as downloads from the VTS website. As the result of my VTS training and regular communication with members of the training and adminstrative staffs, I have a resource list of highly qualified individuals including VTS co-founder Philip Yenawine and Abigail Housen's research assistant Karin DeSantis. Locally, Dr. Kathy Unrath and Dr. Carol Gilis, are highly qualified and interested mentors and sources of art and literacy related information. (And, as distinguished member of Mizzou faculty, they can refer me to other qualified individuals at various research questions and needs arise.)
Sources of addition information will be internet and library searches. I will also examine bibliographies attached to the literature sources I have listed above.
(Stay tuned for part 2 of this....It is now 1:47 am and I MUST get some sleep!)
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