greetings from dpi Continued from page 29


used when drawing. If a student draws a line or makes a mark in a wrong place, he or she must incorporate it in the drawing. A similar approach in music would be in- corporating errant notes in a performance or improvisation. Elaboration is developed by adding more detail to a response, and students can be led to strive purposely for originality in creating an artistic product – and in thinking itself.


To promote the habit of mind of visual- ization and imaginative thinking, a music teacher uses art prints to encourage stu- dents to compose at the keyboard a piece that “sounds” like the print “looks.” The application in reverse – from music to art – is obvious. Metaphoric thinking/visual- ization can be encouraged by having music students think of an appropriate scene or action when performing a selection that describes a scene or mood.


Modeling. Many creative habits of mind, dispositions, and higher order thinking skills are less taught than ‘caught’ from influential adults in students’ lives (like teachers). The teacher-researchers often consciously model creative thinking skills in facilitating student learning and in developing creative teaching strategies. Modeling playfulness in teaching encour- ages a like state of mind in the students and a willingness to take risks.


Metacognition


The second research question concerns students’ metacognition – developing executive control of one’s thinking. Some of the elementary art and music teachers help their students become aware of their thinking by placing “idea” or “think” faces around the room (perhaps drawn by the students) portraying “deep in thought,” “aha!” (light bulb), “dreaming,” “what else?” “what’s another way?” etc. At times the teacher will ask a student who seems


to be stuck, “What think face are you?” A middle school art teacher goes through the students’ portfolios to find a place in which the student work took on a creative bent – a new perspective or energy. “What happened here? What were you thinking?” are questions that can connect students with their thinking processes. Also, teach- ers can “think aloud” at the black board (white board? Smart board?), describing and naming their thinking processes. A logical next step would be asking students to think about and name their thinking processes.


Recap


This has been a description of what one group of art and music teachers have done in creating new knowledge in an ill-defined field by addressing the chal- lenge of the TFACE Action Plan. We are anxious to engage other teachers in this exciting initiative. There are two options: Join our group of action researchers (no membership dues!); or begin addressing the teaching of creativity on your own. Our group meets three times a year to compare notes, share successes and chal- lenges (a.k.a. learning opportunities), have lunch (courtesy DPI), and pose new questions. Our next meeting will be in late February or early March. For more infor- mation contact Karen Tordera (ktordera@ wwusd.org).


Mel Pontious is the state fine arts consultant, Department of Public Instruction. Email: melvin.pontious@dpi.wi.gov


“Modeling playfulness in teaching encourages a like state of mind in the students and a willingness to take risks.”


30


January 2011


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68