Process Art and the Natural Environment

Process Art and the Natural Environment: An Approach to Teaching Visual Art at Primary Level.

By Andrea Cleary & Polly Minett This paper reports some findings from a collaborative research study between the Institute of Education, Dublin City University and the Design & Crafts Council of Ireland’s CRAFTed programme.

The study aimed to capture the level of student engagement using a Process Art approach to teaching and learning in the Visual Arts at primary level and its potential for student teachers to make cross curricular connections. It focuses on the value of Process Art in the teacher education context, and its rich potential for integration with areas such as literacy, SESE, Maths and SPHE.

Fig.1 Wave

Context Within DCU Institute of Education (IOE), charged with the development of Initial teacher education (ITE) and in-career programmes, this research study builds on previous extensive experience of art education for primary teacher. It also builds on a number socially engaged projects relating to Outdoor Learning, building collegial connections, enhancing wellbeing and working with artists to provoke new ways of thinking (1). Insights from these previous IOE projects, coupled with the 10 years of expertise and experience in process led, integrated, arts education practice, facilitated by DCCoI’s CRAFTed Programme (2) has formed a the basis of this research partnership.

The research was conducted at St Patrick’s Campus, Drumcondra, with students from the Postgraduate Masters in Education Primary (PMEP) as part of the minor specialism programme for Visual Art entitled- Process Art and the Natural Environment.

Research Methodology A mixed methods approach to gathering of qualitative data includes observation-field notes, reflective journals, focus group data, digital images and qualitative questionnaires. All data was based on course engagement over an eight week period. A collaborative critically reflective approach was used throughout; the research context included participant responses to the environment, to natural materials and the work of environmental artists through a series of lectures and workshops, indoors and outdoors. Researchers engaged collaboratively in action research (McNiff & Whithead, 2010).

The participants of this study were different educational backgrounds and life experience. The richness of the combined backgrounds of the students greatly contributed to the construction of knowledge. The course structure was carefully planned with agreement for flexibility to adjust the content if required after collaborative critical reflection.

Ethics Prior to commencement of the course, ethical approval was sought through the DCU Research Ethics Committee (REC) and full permission was granted. All participants agreed to freely take part in the research study.

Framework The course was collaboratively designed by the research team, drawing on their areas of expertise.

The course content aimed to challenge students’ views of the traditional product focused practice (Gude, 2013; Hickman, 2004; INTO 2009; NCCA, 2005).

Drawing from the successful methodologies used in the CRAFTed and the B Ed Primary Programmes, experiential learning (Dennison & Kirk, 1990; Kolb, 1984), art teaching methods were based on student teachers experiencing Process Art (3), the artistic process as a way of developing ideas, creating artworks, and developing and recording their own links around a topic/ theme/strand. The process of reflection on their art work, the work of peers and the work of artists informed the research project.

The use of Outdoors & Indoors The course design and research study chose the natural environment and use of natural materials indoors, as a particular focus which was informed by evidence from eco psychology ( Kaplan 1995), studies on outdoor learning (Lieberman & Hoody, 1998), Forest schools (Herzog et al., 1997; O’Brien and Murray, 2006) and environmental art and community practices (Malone, 2008 in Medhurst, 2012).

1

In Order for PMEP students to experience the artistic process, a ‘mini’ Artist’s Residency was incorporated into the course design. Students also had the opportunity to experience the artist’s own artistic process in addition to hand-on workshops. DCCoI’s Education Panel member (5) Breda Marron (5) was selected as she worked with natural materials and had /experience of the CRAFTed programme which could be shared with the students.

Course Content The aim was to use methodologies that offer students a creative, integrated, process led, learning experience that supports the requirements of the revised Visual Arts Curriculum (GoI, 1999). The course included selected strands such as drawing, paint and colour, clay, construction, print, fabric and fibre and strand units looking and responding. Three of the seven sessions included outdoor engagement in process art work. An optional day long field trip to Slieve Gullion in Co Antrim was also offered.

The workshops took place between 8th March and the 5th May 2017, the contact time for each session was 1 hr 50mins.

Planning Artists callout Jan 2015

PMEP course Week 1&2.

Artist led Drawing Clay willow

Course selection

PMEP students

Dec 2016.

Nov-Jan 2016/17 Planning meeting with team weekly plan devised

Week 5 Fabric and fibre Print with natural plant material

Week 3 Paper making with Polly Minett.

Field trip Slieve Gullion April 1st 2017.

Outdoor

Week 4 1st class school PME students

Week 7 group work willow weaving Artist Breda Marron

Week 6 Outdoor fabric and fibre weaving

Analysis of research July-Sept

2017

Week 8

Presentation

focus group May 2017.

Artist in residence

Fig 2. Project Timeline

The team supported students in creating a sense of ownership and developing awareness for their own learning through the process of making art. Students used Process notebooks (PNB) for recording and reflecting on their work using digital photography and written word to gather thoughts ideas and responses. Two students kept a digital account of the process.

2

Making Waves The final workshop culminated in a site specific collaborative willow installation, created by students, Breda Marron and a participant researcher. The simplicity of the natural material, woven through the rigid grid railing of the new IoE is symbolic. The form of the sculpture developed into a wave which broke the lines of the railing, through which the willow was woven. The lines of the willow layers create a flow and rhythm which has a power of its own. The grid reflects the academic/institute/ curriculum structure, with the collective energy, ideas and cross curricular connections interwoven to recreate a whole new perspective on connected learning.

Description The combination of seven Process Art focused workshops, using a variety of media such as willow, clay, plant materials, sheep’s wool fibre, charcoal, and indoors and outdoors environments resulted in investigations and artworks which provoked and motivated further learning and growth in ITE. The following section highlights some of the connections made by students through some of the workshops. Participants valued mindfulness drawing (workshop 1) ‘doing the task without thinking too much...loosening the mind and allowing creativity to take over’ yet at the same time having the topic of values at the heart of the drawing lesson (likes and dislikes). One student’s reflection captures how she sees this translating into an aspect of teaching ‘it is important for children to understand the difference between their likes and dislikes and giving children a way to express this through art is fantastic’(PNB 3). The process was uncomfortable and disconcerting for some ‘It took me a bit of time to ‘let go’ or ‘go with it’ but this lead to the most interesting creative journey I’ve had in ages’ (PC Questionnaire 5).

Students who experienced the process of immediate/spontaneous drawing reflected ‘it was relaxing to see effortless movements create a flowing image’ and seeing possibilities for the drawing techniques as useful method of managing children in the classroom ‘if children are tired and in need of a refresh or simply a break ‘scribbling would be perfect-also great for children to safely release frustrations’ (PNB 2).

Having experienced a papermaking workshop, students cited the value of texture, ingredients and methodology of paper making for creating cross curricular links. Connections were made with plants and fibres and where they come from; opacity and transparency (science) to questioning the origins of paper - traditional and industrial processes, history, technology, industry, recycling (PNB 2) and capturing the process connected with procedural writing. The same workshop inspired the students to think about the possibility of making books, thinking about the design for constructing them.

3

Findings From literal to conceptual Students created sculpture in willow, which explored the idea of ‘Protection’. Instead of simply making a hut/exploring willow structures (literal), they explored the concept of protection which extended into other cross curricular ideas (PNB 1, 2, 3, 4, 5). This methodology emerged across all students’ work, some of which is captured in the following section.

Concepts of justice, humanity, wellbeing, friendship, citizenship, identity, protection, equality, resilience, energy, caring, sustainability, destruction, expression and balance emerged from the reflections recorded by students in their Process notebooks. This is a significant departure from simply recording step by step process of making an end product.

The concept of endurance emerged from one observation of digital images of nature, which captured ‘flowers emerging through walls and stones signify the robust endurance of nature against mankind and represents human interaction’ (presentation 3). This student’s integrated scheme later connected Geography Natural Environments, and Environmental awareness and care, and Scienceliving things and plant and animals. Extensions of the curricular links included Literacy - poetry, imaginative story writing, Drama -linked to visual art exploring creatures with a focus on the overarching theme of ‘New Worlds’ (presentation 3).

Identity emerged as a secondary theme connected to SPHE and Ethics and ERB. ‘Foliage faces’ inspired through the use of plant materials in the ‘Mandala’ workshop (workshop 2&3), shows direct links and development of methods from previous workshops. The aspect of ‘foraging’ for foliage/ materials was included in the approach to teaching seeing it as promoting and facilitating the child’s wellbeing citing ‘the importance of nature and sense of one’s place in the world as critical to healthy development and individual identity’ (presentation 3).

Cross-curricular integration My mind has been opened to all the opportunities that exist,.... especially watching everyone’s presentations opened my mind to even more integration possibilities I hadn’t considered(PCQ 4).The evidence of cross curricular connections which were derived from workshops and shared at presentations were individually constructed but had many overlapping features.

Citizenship (SPHE) featured strongly, where themes of justice and human rights, wellbeing, ethics and ERB linked with themes of empathy, caring, friendship, identity and bereavement (presentation 1,2,3,4,5). Each student had a different focus. Connections to Music and composition were evident and the commonalities of pattern in a visual context, digital sound waves and pattern and composition in sound were made and expanded into lesson plan ideas.

One of the students had a deeply rooted interest in history, and this lens fed into connections with every strand explored. The history connections were most strongly associated with willow, and fabric and fibre (blog 1), living histories emerged as part of conversations captured while engaged in

4

weaving workshop, the history of origins of fibre and memory and associations with fabrics were highlighted by all participants through process notebooks.

History and Geography became a central focus for two students, where environmental artists and personal observations of pattern in nature, became relevant stimuli for lessons plans. Activities such as scavenging for natural materials revealed parallels for students between the maths activities of sorting and categorizing, of textures and colours. Another student noticed negative shape in a sculpture made by Breda in Slieve Gullion, I thought how the light came through this willow structure was very interesting. it makes you focus on the negative space. You could ask children to look at shapes they see. This links with maths (PNB3).

Collaboration The strength of collaborative learning featured in all journals for various workshops, as did problem solving, connections to science and materials and development of language skills. Being part of a team when working through a new process means shared responsibility and lots of opportunity for problem solving, looking responding, critical discussion, reflection and most importantly having fun and being creative (PNB 2).

Students also reflected how collaboration developed their awareness for different ways of learning within their class. It is interesting to observe how people interpret things and learn. Something I need to be more aware of is the diversity of learning in the classroom (PNB1). The outdoor collaborative willow project inspired conversation about energy of being outdoors (video 1) and response to questionnaires recognised how art can be created outside dynamically and collaboratively (PCQ 1). Collaboration and enjoyment of working in small groups also inspired confidence to fully participate (PCQ 4).

Well being One of the features of our research project was to ascertain the effects of the methodology on our students. It emerged that students found benefits to their wellbeing through the process of drawing -creating awareness for methods of working which can ‘release energy’, ground you, and ways of working which require instinctive responses, letting the materials and ‘flow’ dictate the outcome (PCQ 2).One person stated the process of making Mandala’s so tranquil and absorbing ………..I lost all track of time and became intent on maintaining symmetry and rhythm. …...Being absorbed in creative work for no other purpose than creating a symmetrical image was so relaxing (PNB 2 pg12).

Through questionnaire responses students revealed views that wellbeing was almost implicit and felt that art is conducive to wellbeing (Post Course Questionnaire 1).Direct links were made to the Natural environment equating it with essential calm time that helps children connect to be ‘in the world, with the world and of the world’ (Paulo Freire in PCQ 5). One participant stated the course was very good for my own well-being, which has really emphasised to me how art can feed into wellbeing and mindfulness in the classroom (PCQ 4).

5

Validation (of instincts in teaching): Significantly, one of the findings that emerged was validation, where students saw the connections they naturally made, had a place in their methodologies for teaching, taking the time to experience Process Art. Through experiencing the process of weaving into willow with fabric and fibre, students shared their thoughts and experiences of seeing or using fibres in their lives prior to the course. This sharing of living history opened up a dialogue on the connections to past lives and possibilities for integration of history, industry, values and empathy ‘thoughts about my grandmother and all the knitting she did for her family. Hours, long and tedious. I thought the red wool could symbolise her labour .The same experience was mentioned in the focus group when the student expressed Validation to go to this place in the outdoors, to tease things out, maybe children need that-to vocalize and verbalise it a bit more I think I just realised this was Valid (PNB 1).

Conclusions Our vision was for immersion in a process of art making, using varying techniques and approaches with a focus on building in reflection on the experience of making/ doing /collaborating. Our aim was for students to discover their own inherent connections to the wider curriculum. This research has shown the strength of Process Art as a vehicle for processing thoughts and instincts connecting the person and the teacher opening the door to connecting with the wider curriculum.

This project brought to the fore the importance of trust in the process of art making as a mechanism for change in approach to teaching Art. Our outdoor environments are a free resource, a connector for curriculum subjects, and a rejuvenator of energy and as a stimulus for acknowledgement of diversity.

Strengths ●

● ● ●

● ●

Collaborative learning: Sharing perspectives and connections, through the collaborative experience of making and presenting, values the individual and builds new confidence as a person and as a teacher.

Reflective practice: The power of reflection as a tool developed self-motivation for further enquiry and awareness for its potential in future teaching.

Personal development: Individual and collective growth through art making impacted on wellbeing and confidence in teaching Planning and Time: careful planning allowed time and flexibility for learning to evolve throughout the course and space to build on the context, concepts and the methodologies used in creating art.

Space: The availability of the art studios between classes as drop-in space, gave students room to continue to explore materials and develop new insights further after classes.

The sharing of knowledge and connections made with the wider college community through outdoor art installation.

6

●

Support and encouragement: collaboration working in a team for both researchers and students allows new ideas and approaches to develop. Embracing the challenges as well as the successes.

Challenges: ● ●

● ● ●

Time to give and listen to feedback, listen and discuss findings and to guide further explorations.

As lecturer, divorcing oneself from teacher mode to collaborator with students, using dialogue to draw from students their own interpretations and thoughts. Not dictating the end result at the beginning.

Trusting in the process and accepting the diverse range of responses and ways of working each student has.

Capturing the depth of engagement where students pace and approach to working varied.

Capturing the richness of co-constructed learning which occurred through final presentations.

Key Recommendations: ●

● ● ● ●

Bring the classroom outside-Outdoor Art making and use of the environment and natural materials connects students/teachers to multiple avenues for learning, exploring and developing a sense of wellbeing.

Promote change in approaches to art education, through curriculum reform to inspire deeper learning.

Provide more time for student exchange and development of ideas and confidence in different approaches to teaching.

Provide initial teacher education institutions with resources, space and staff, to develop focused programmes such as this for CPD for primary teachers.

Develop ongoing relationships with schools, teachers, ITE colleges and professional art/craft organisations.

Figures: 1. Making waves, site specific Willow sculpture, collaboration with students, participant researcher with Artist Breda Marron.

2. Timeline, brief outline of time from planning, course structure, field trip, presentations and initial analysis.

Notes: 1.

2.

3.

4.

5.

Finding Common Ground 2016 (SRF , DCU), Willow weave project 2015 (T&L, SPD), and Macalla – Permission to Play 2016 (T&L, SPD). http://www.dccoi.ie/learners/primary/crafted The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work (Tate 2016). http://www.dccoi.ie/learners/education-panel www.bredamarron.com

7

References: Dennison, B. & Kirk, R. (1990) Do, Review, Learn, Apply: A Simple Guide to Experiential Learning.

Oxford: Blackwell.

Gude, O. (2013). New School art Styles the Project of art education. Retrieved from https://www.academia.edu/7339745/New_School_Art_Styles_the_Project_of_Education?auto=download Herzog, T. R, Black, A. M., Fountaine, K. A, & Knotts, J. (1997). Reflection and Attentional Recovery as Distinctive Benefits of Restorative Environments. Journal of Environmental Psychology, 17(2) 165-170.

Hickman, R. (2004). Art Education 11-18 Meaning Purpose and Direction. NY London: Continuum.

INTO (2009). Creativity and the Arts in the Primary School Discussion Document and proceedings of consultative conference on Education. Dublin: INTO. Kaplan, S. (1995) The restorative benefits of nature: Toward an integrative framework. Journal of Environmental Psychology, 15(3) 169-182.

Kolb, D. (1984). Experiential Learning: Experience as the Source of Learning and Development. New Jersey: Prentice Hall.

Kremmis, S. (1991). Improving Education Through Action research in Zuber-Skerritt, O. (Ed). Action Research for Change and Development. England: Avebury Gower Publishing Lieberman, G. A. & Hoody, L. (1998). Report- Closing the Achievement Gap; Using the Environment as an Integrating Context for Learning. CA. Council Chief State School Officers.

McNiff, J.and Whithead, J. (2010).You and Your Action Research 3rd ed.London and New York. Routledge Medhurst, L. (2012). Science Nature and Identity: Understanding the Value of Experiential Learning in a Land Art Context. Stour Valley Arts Limited.

NCCA, (2005) Primary Curriculum Review. Dublin. Government of Ireland. Retrieved from http://www.ncca.ie/uploadedfiles/Publications/PrimaryCurriculumReview.pdf (20/09/17) O’Brien. & Murray, R. (2007). Forrest Schools and it Impact on Young Children. Urban Forestry & Urban Greening. (6); 249–26 Tate (2016) web ref http://www.tate.org.uk/art/art-terms/p/process-art

Disclaimer: This paper is based on emergent process of analysis it is subject to ongoing analysis.

8

9