guest
Future Directions Mel Pontious, Retired State Fine Arts Consultant
This column will take a look forward to suggest what seems to be the path arts education must take in order to ful- fill its mission in this changing culture of the 21st
century. For instance, there is a
growing awareness that arts education needs to address more than just disciplin- ary content, or the “what” one teaches. These items include critical and creative thinking skills, positive attitudes and val- ues, productive habits of mind, and the ability, and will, to “learn to learn.” Since these are optimally “caught” (or not) by “how” students are taught, the best ap- proach is not only to teach the “what” of the discipline but also to attend to “how” best to teach the “what.”
The “What” of the Curriculum
While it is impossible to separate the “what” from the “how,” it is useful to look at each separately. Current thinking suggests that learning in the curriculum must not only deal with disciplines and the relationship among the different dis- ciplines but must also deal with student centered and societal concerns. These will be considered below.
Discipline concerns. There seems to be three areas to consider in what is to be taught in the discipline: 1) the deep cen- tral issues and craft of the discipline, as reflected in the Wisconsin Arts Education Standards in a given arts area, 2) problem solving in the arts, and 3) helping students to “think in the discipline” fluently and au- tomatically, reflexively feeling and using nuanced command of the aesthetics of the discipline to express meaning effectively in performing, creating and responding.
This suggests a longer-range view of the usual arts education curriculum. However, it can be a seamless extension of what one already teaches. The three points
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above actually reflect a progression of understanding and skills that are part of all arts programs. Problem solving skills, for example, enable students to become self-directed learners, able to envision and work out their own solutions to problems in performing, creating or responding. The ability to “think” in the discipline is the result of deep involvement in one’s own learning in which one “constructs” his or her own understanding through solving the problems inherent in performing, creating and responding. These are most effectively learned through the normal work of the classroom or rehearsal.
Studet concerns. The curriculum must include disciplinary elements that serve the needs, challenges and strengths of all students. The emphasis must be changed from teaching the arts to students, to teaching students the arts. The long-term goals of the curriculum should include the general development of students as well as the learning tasks that can serve their unique needs. Questions might include “What is the appropriate level of challenge for the gifted students as well as for those who struggle? What must the learning task include that will serve the general development of students as well as their unique needs? What strategies will help them learn to learn?” Since groups of arts students are often multi-age, determining and helping students move to their next appropriate level of challenge is an im- portant concern.
Society concerns. Guiding questions for developing strategies and projects for this area include “What can help students become aware of the community’s and society’s needs, issues and concerns? What will motivate them to be involved as a member of the community/society? How can this program serve the needs of this community?” Many programs already do outreach to their community through involving seniors citizens in the arts or creating art displays or banners downtown or at malls to enhance these environments.
“My very best wishes to you all!”
This helps students develop a sense of service to others, an important aspect of a vibrant community.
The “How” of Teaching
While the “what” of the art curriculum must extend beyond what has tradition- ally been taught in the past, much of those qualities needed in the adult world – positive dispositions, habits of mind, knowing how to learn and keen thinking skills – are developed optimally by “how” the students are taught. While teachers un- derstandably focus mainly on the “what” of the curriculum, the above qualities can have a more profound effect on the typical students future than the “what” they have learned, as important as that is.
Research – nationally, internationally and here in Wisconsin – has found that learn- ing the “what,” as well as the qualities above, is best achieved through a student- centered instructional/assessment protocol that engages students actively in the learning process. For instance, this would include involving students in the problem- solving process (find and define the prob- lem; develop and implement a solution; analyze the work in progress, both process and product; and reflect on what’s work- ing, what isn’t, and what would improve it) as well as in the design of the learning project. This uses and helps develop the full range of critical and creative thinking skills. Such engagement not only helps students construct understanding in depth, it also develops the student’s ability to learn. By contrast, the traditional approach is dominated by direct instruction (teach, drill, test). While some direct instruction is needed, active student involvement in deciding such factors as goals, rubrics, and self-assessment is an important factor
April 2011
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