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This course is designed to be:
Week 1 Another practical approach to learning through the arts is mirrored in Howard Gardner's theory of Multiple Intelligences. The Multiple Intelligences (MI) are essentially ways of learning, ways of knowing. Gardner (1999) relays that the enthusiasm for MI shown by artists and arts programs is inevitable due to the predominant 'artistic' aspects of the intelligences: visual-spatial, musical, kinesthetic, linguistic, etc.. Thanks to hundreds of studies during the past few decades by cognitively oriented psychologists and educators, we now know one truth about understanding: most students in most schools – indeed, many of the best students in the best schools – cannot exhibit appreciable understandings of important ideas (Gardner, 1999, p.102). As a potential solution to this problem, Gardner suggests seven entry points that general classroom teachers can use to help or ignite the learner's interest. These seven entry points include: Narrational, Quantitative / Numerical, Logical, Foundational / Existential, Aesthetic, Hands-On, and Social (1999, pp.169-172). These entry points coincide with the intelligences as effective means to fulfill curriculum standards. Gardner, H. (1999). Intelligence reframed; multiple intelligences for the 21st century. New York: Basic Books. Learning Objectives for Unit 1:
Required Readings for Unit 1: Chapter 10 of Gardner's Intelligence Reframed Week 2 The Internet has made knowledge globally accessible. As a result, the role of the classroom teacher has changed from information provider to learning facilitator. What does it mean to be a learning facilitator? Learning Objectives for Unit 2:
Week 3 Action science and action inquiry are forms of inquiry into practice; they are concerned with the development of effective action that may contribute to the transformation of organizations and communities toward greater effectiveness and greater justice (Torbert in Reason, 1998, p. 330). According to Reason’s (1998) interpretation of Torbert’s expansion on Argyris’ work: Action Science focuses on the implicit cognitive models of practitioners and on their actual verbal actions. Action Inquiry, although it addresses these, in addition addresses outcomes (measured empirically) and the quality of one’s own attention (monitored by meditative exercised as one acts). Further, action inquiry addresses the question of how to transform organizations and communities into collaborative, self-reflective communities of inquiry. Workshop participants are capable of double-loop learning: “…double-loop learning referring to the capacity of individuals to reflect on and amend not only their action strategies, but also the governing variables behind those strategies” (Argyris & Schon in Reason, 1998, p. 330). According to Reason, Torbert thought action inquiry as a kind of research that happens in everyday life. My inclination as an educator and as a student is to agree. I believe this project provides applicability to life in the following ways.
Reason, P. (1998). Chapter 20: Three approaches to participative inquiry. In N. Denzin (Ed.). Handbook of Qualitative Research (pp. 324-338). Thousand Oaks, CA: Sage Publications. Learning Objectives for Unit 3:
Suggested Reading for Unit 3: Thomas Armstrong's Multiple Intelligences in the Classroom Eric Jensen's Arts with the Brain in Mind Optional Discussion: What relationship exists between school and society? Week 4 Another problem to consider is the general skepticism of the arts as an equal in the curriculum. This skepticism is generated by a nationally supported 'hidden curriculum' that devalues the arts as a critical discipline. This is evident in the increasing number of arts programs in public schools that are cut due to costs. This skepticism is also evident in the traditional classroom teacher's attitudes toward the arts as superfluous. "Teachers help shape the hidden curriculum in the classroom by sending signals about what is considered to be important" (Webb, 2000, p.463). Some resistance to the change or shift toward teaching through the arts is to be expected. However, it should be noted that the intention is not to try to change every teacher to become an artist. Rather, the intent is to help teachers be more appreciative and supportive of the arts as a means to genuine understanding. "When resistance is considered a natural reaction - part of a process – it can thus be seen as a first step toward adaptation. At the very minimum, resistance denotes energy – energy that can be worked with and redirected" (Jick, 1990, p17). A proactive approach to dissolve this resistance and skepticism is to find a common goal that spans all disciplines and classrooms and curricular content standards. That common goal is to provide a positive and productive learning experience for the child. Furthermore, teachers and administrators need proof that the arts are a valuable vehicle for incorporating higher order thinking skills across the curriculum. Jick, T. D. (1990, November 9). Recipients of change. Harvard Business School Publishing. Webb, L. (2000). Foundations of American education. Englewood Ciffs: Merrill. Learning Objectives for Unit 4:
Optional Discussion Question: Does every educational institution have a 'hidden curriculum'? Week 5 A quick Internet search for the terms arts infused produces a variety of websites that focus on educational institutions and curriculum models. There are schools in New Jersey and in Mississippi that have adopted an arts-infused curriculum (http://www.omgcenter.org/aces_roundtable.pdf and http://aep-arts.org/approved-Mississippi.doc ). There is an Arts Infused Teaching and Learning Institute in Minnesota (http://www.pcae.k12.mn.us/pdi/aplus/aplus.html ). There is also an arts initiative program developed by the Kennedy Center that includes the arts infused label. From a more specific perspective, the question then becomes: what proof do we have that arts infused workshops or courses for specialists (art, music, physical education teachers) are effective for the participants and the potential recipients (students themselves)? These are questions that should be included on an evaluation form and survey.
http://www.omgcenter.org/aces_roundtable.pdf Learning Objectives for Unit 5: Understand the Arts Infused label as a 'movement' or change in education Required Readings for Unit 5: Internet search for at least two Arts Infused programs Week 6 Rubric Model, Learning Activities Model, Sample Action Plan Visit www.Taskstream.com Weeks 7 and 8 Work on the final draft of your action plan. This is due in Week 8. Week 9 Complete feedback and evaluations
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