No part of this publication may be reproduced by any process without written consent from Singapore Teachers’ Academy for the aRts.
Singapore Teachers’ Academy for the aRts 2 Malan Road Singapore 109433 moe_star@moe.gov.sg
All names, designations and schools of the art teachers are accurate as of point of conducting the critical inquiry projects.
Edited by: Seow Ai Wee, Low Sok Hui and Pang Ming Ing
Design by: First Concept Pte Ltd
ISBN: 978-981-14-0711-6
Preface
By Clifford Chua Academy Principal, STAR
The art classroom is a lively and interactive place. It is a place filled with imagination, creative problem solving and fun. The art teacher is the chief designer and curator of these learning experiences and plays a key role in ensuring that students develop critical 21st Century skills that position them well for the future.
In our commitment to support art teachers’ pursuit of excellence, STAR collaborates with the fraternity of art teachers on a journey of critical inquiry towards developing their skills as teacher-researchers. The critical inquiry conducted by our teacher-researches is related and relevant to their practice since they are learning to problemsolve for the purpose of improving learning of art in their classrooms. Through the various processes embedded in STAR’s approach to critical inquiry, they are prompted to ask fundamental questions that challenge their existing practices and assumptions about how students
learn. Just as art teachers often ask their students “What happens if…?”, our art teachers have to constantly question their established mindsets and be open to other possibilities and opportunities.
Our art teacher-researchers inspire and role-model for our students the spirit of lifelong learning and learning collaboratively. They seek out innovative teaching approaches and open themselves to educational experimentation; all the time embracing ambiguities, learning from mistakes, and making adjustments and refinements along the way. They keep themselves abreast of the latest pedagogies and are always generous in their sharing to the fraternity at large. This second edition celebrates the highlights of their learning and is a valuable resource for art teachers looking to improve their practice.
My sincerest congratulations.
Introduction
By Low Sok Hui, Senior Academy Officer (Art) and Pang Ming Ing, Academy Officer (Art), STAR
#discover
There’s a lot we love about being an art teacher. We are always on a journey of discovery as we guide our students, develop their interests, celebrate their creative explorations, and find out how they best learn. In Critical Inquiry in Art Education II, eight art teachers share their respective discoveries made over eight months in the authentic context of their art classroom.
#teacher-researcher
The eight teachers took on the role of teacherresearchers, actively investigating and questioning their pedagogy, observed the behaviours of their students, experimented and introduced strategies to enhance the teaching and learning of art. Through an iterative process of action and reflection, they learned to develop a critical consciousness of their teaching repertoire.
#inspiration
Inspiration to critically review their teaching practice stemmed from our overseas learning journey to the three-day art conference organised by the National Arts Education Association in Seattle in 2018. We were also inspired by our lesson observations and interactions with art educators in the public and private schools of Seattle as well as museum educators from the Seattle Art Museum.
“I was fascinated with one teacher’s approach to not do too much for students and instead to let them be independent. When students ask questions, the teachers would not necessarily give them all the answers, but would rather encourage them to discover their answers, sometimes even through mistakes in their work.”
- Loke Puay Yin (Hua Yi Sec)
When we draw comparison between the process of artmaking and critical inquiry, we see close parallels between them.
• Connect & Wonder -- Inspiration from workshops, exchange with school teachers & museum educators, independent follow-up readings
• Investigate -- Review & highlight observations and/or concerns in art classroom
• Express -- Group sharing & feedback; analysis of data
• Make -- ‘Intervention’ strategies & documentation of behaviours and responses
• Reflect -- Learnings & takeaways; recommendations; areas for improvement
#authentic learning
The discoveries by this group of teacher-researchers are organised into three sections:
- Empowering Learners
- Encouraging Learner Engagement
- Supporting Self-Directed Learning
As educators, we are actively seeking ways to foster authentic learning and ownership in the art classroom. We step out of our comfort zone, experiment with innovative teaching strategies with the objective of engaging students as active learners. As we think through the pedagogies that support our teaching, we are continually learning and clarifying our assumptions about art teaching.
We hope this publication will invite more art teachers to embark on personal journeys of critical inquiry and reflection so as to discover creative and effective pedagogical practices that will have a positive impact on the art learning experiences of our students.
Art Inquiry Model
What Choices can my Lower Primary Students Make in the Art Classroom? - An Inquiry in Choice-Based Art Lesson
Nur Illiyana Binte Mohammad
Maris Stella High School (Pri)
How would Choice in the Secondary 1 Art Classroom Affect Student Learning and Performance?
Loke Puay Yin
Hua Yi Secondary School
Cultivating Voices through Choice
Angelina Chia
Tampines North Primary School
Empowering Students Through Student-Led Museum-Based Learning
Chia Ying
Serangoon Garden Secondary School
Fostering Creativity Through Inquiry-Based Learning (IBL)
Jess Chen Xiangling Haig Girls’ School
Teaching Performance Art with Movement and Improvisation
Siti Rafidah Binte Rahman
Temasek Junior College
63
Supporting Self-Directed Learning
Instilling the Joy of Learning about the Study of Visual Art through Sketch-noting Approach
Farah Diba A Aziz
Edgefield Secondary School
How Might Contemporary Art Practices Help Students Find their Creative and Critical Voices?
Joyce Teo
St Joseph’s Institution
81 Find Out More
EMPOWERING LEARNERS
Teachers encourage students to take ownership of their learning. During the learning process, teachers allow students to be involved in decision-making, to take intellectual risks and to view mistakes as learning opportunities.
How might art teachers empower their students in learning and decision-making?
What
Choices can my Lower Primary Students Make in the Art Classroom?
- An Inquiry in Choice-Based Art Lesson
Nur Illiyana Binte Mohammad
Art Teacher
Maris Stella High School (Pri)
Inspiration
“ “ “ “
The Child is the Artist. This brief statement places students in control of their subject matter, materials, and approach. Art that is created from the meaningful context of young artists’ lives enhances relevance and authenticity.
A choice-based art room shows respect for the children and their choices. They inspire one another. Children learn to honor the diversity of expression apparent in their work that leaves the art room –the seeds of respect for difference.
OBSERVATIONS OF MY CURRENT SCHOOL CONTEXT
Students’ learning process follows an inquiry-based learning (IBL) approach with certain constraints given to students. However, choices were not given when the elegant art task was introduced, which makes it challenging to sustain the boys’ level of engagement at times.
METHODOLOGY
PARTICIPANTS
30 students from a Primary 1 mixed-ability class
DATA COLLECTED
1. Process sketches and artworks
2. Artist Statements
3. Reflection
4. Peer observation feedback
WHY IMPLEMENT A CHOICEBASED ENVIRONMENT?
Presentation by Pamela Ehrenreich at the 2018 NAEA National Convention on “I think I can, I think I can... Create a Choice Based Design Thinking Studio”
Learnt strategies for implementing a choice-based studio environment for any high school art course that fosters design thinking, allows for multiple means of expression and varied student pacing.
Presentation by Tracy Fortune at the 2018 NAEA National Convention on “Using 30+ Inspirational Visual Challenges as a Springboard for a Choice-Based Ceramics Classroom”
Looking to teach ceramics with greater student choice, while including technical skill and design thinking. Explore ways to engage students in problem solving and creating clay artworks they love.
WHAT I LEARNT IN THE TWO PRESENTATIONS
Choice-based lessons create a platform for creative problemsolving
It is refreshing to see different artworks under the same theme
It gives students the element of surprise through the choices they have made
To give more confidence in students to make choices, we can start the lesson with teaching them the skills/techniques required before introducing the art task (i.e skillbuilder challenges, springboard visuals for inspiration)
It creates a flexible curriculum which allows us to be more responsive to students’ needs (student-directed) versus telling students what to do (teacher-directed)
In an all-boys school, offering choices to explore different materials can sometimes be daunting and may be challenging to monitor. Hence, the final outcome of their artworks are still following a cookie-cutter format.
Lesson 1
Getting to know artist Wassily Kandinsky
1. Read “The Noisy Paint Box” by Barb Rosenstock
2. Art discussion on “Composition VIII” by Kandinsky using “SeeThink-Wonder”
Lesson 2
Exploring colors, shapes and lines with oil pastels
1. Learning how to connect music with emotions
2. Learning how to connect colours with emotions
3. Making marks using oil pastels while listening to music to create abstract art
DURATION
4 lessons:
1. Understanding the artist/art discussion
2. Exploring the art materials
3. Exploring the elegant task
4. Produce a final artwork and students’ written reflection
1. Exploring through play: Making marks using materials X, Y, Z while listening to 4 different types of music (relaxing, intense, playful, African drums)
2. Material X, Y, Z: Cotton Bud, Fork, Ice-cream stick
3. Reflection: How did I do? What have I discovered about the materials X, Y, Z?
Lesson 4
Creation of final artwork (Choice #2)
1. Introduce elegant art task: While listening to a 2-minute piece of music, choose one material (out of X, Y ,Z) and create an abstract painting using tempera paint.
2. Students to choose one non-traditional material they have explored in the previous lesson to create their final artwork.
Katherine M.Douglas and Diane B. Jaquith, 2009
Diane B. Jaquith and Nan E. Hathaway, 2012
EXPLORATION PHASE I :
Traditional materials (pencil, oil pastels)
Inspired by Wassily Kandinsky’s artworks, students explored visual qualities one can find in an abstract artwork which are colours, shapes and lines, using pencils and oil pastels while listening to music. The music is a variety of different songs that may elicit different emotions.
1. Students explored colour, shapes and lines using non-traditional painting materials. They had to choose which material to use for each piece of music (4 different types of music).
Findings
0%
Number of pupils who used oil pastels and brushes in Exploration II (traditional vs non-traditional materials)
HOW DID MY STUDENTS EXERCISE CHOICE IN THEIR ARTMAKING?
How happy were the students with the materials that they have chosen when reflecting on their final artwork?
2. They were also given oil pastels and brushes during this exploration. Happy Neutral Unhappy
100%
Number of pupils who used more than 2 non-traditional materials (out of 4) of their choice in Exploration II 63% 6.7% 13.3%
In this artwork, you were able to choose your own material. Did you like it that you were able to choose your own material?
Would you like to choose your material next time for another artwork?
6.5% 3%
I discovered that I can scrape the paint using the ice-cream stick to show another colour.
What I learned
about adopting a choice-based learning environment
Students were very excited that they could explore non-traditional materials to paint. Through exploration, they discovered their own unique marks and developed techniques to create abstract art. They felt empowered that they could choose the material they want for their final artwork.
SOME CONSTRAINTS CAN BE:
1. Number of tools/materials they can use
2. Size of paper/types of paper
3. Themes (i.e. nature, patterns, animals etc.)
IT IS OKAY TO GIVE CONSTRAINTS IN A CHOICEBASED LESSON. IT SETS A DIRECTION FOR THEM. Especially for lower primary students, we still have to set constraints even though we would like to give them the freedom to follow their ideas. In this case, the constraints were the music I have chosen for them to listen during Exploration I and II, the materials provided (X, Y, Z) and the instruction for them to choose one material they were most comfortable with to create their final artwork.
4. Colours allowed to use (e.g primary colours, warm colours, cool colours etc)
Students were excited that they can decide for themselves and create something different from the others. They were curious to find out what theme their peers have chosen for their final artwork.
OFFER THEM THE CHANCE TO BEHAVE AND THINK LIKE ARTISTS.
1. Giving students a choice promotes inquiry and self-directed learning. It creates an opportunity for them to follow their ideas. We should not be afraid to let them make mistakes during their exploration of the chosen theme.
2. Using the Teaching for Artistic Behaviour (TAB) framework invites students to form the habit of exploring through serious play and they learn how to self-regulate themselves during the artistic process.
MOVING FORWARD:
Moving forward, the art room can be set up following the TAB pedagogy such that it promotes studio habits by having different media centers (i.e. drawing, painting, cutting etc.). Materials can be made more accessible for students. However, we still have to ensure that such a set up provides a safe environment for students to work in.
Choice #1
Monochromatic Landscapes
Choice #2
Monochromatic Patterns
Choice #3
Silhouettes in a Monochromatic Background (for high-ability students)
IT SHAPES THE ARTIST DISPOSITIONS IN THEM THROUGH ‘STRETCH AND EXPLORE’.
How would Choice in the Secondary 1 Art Classroom Affect Student Learning and Performance?
Loke Puay Yin
Art Teacher
Hua Yi Secondary School
Inspiration
The art that is produced is suggested by the teacher who commissions it and motivates the students to accept the commission. The teacher is also the client-patron for the products produced and is the dispenser of rewards for commissions completed within specifications. In other words the teacher is in charge of the game.
“
Gates, Leslie (2016). “Rethinking art education practice one choice at a time.” Art Education, 69:2, 14-19
METHODOLOGY
PARTICIPANTS
Secondary 1
1. 4 Express classes
2. 2 Normal Academic classes
DATA COLLECTED
1. Group and individual worksheets
2. Artworks
3. Exit tickets
4. Presentation/voice recordings
5. Video recordings
I ALSO DREW IDEAS ABOUT TAB AS A LEARNER-CENTRED PEDAGOGY WITH A 3- SENTENCE CURRICULUM:
1. What do artists do?
2. The child is the artist.
3. The art room is the child’s studio.
Douglas, Katherine M., & Jaquith, Diane B.(2018). Engaging learners through artmaking: Choice Based Art Education in the Classroom(TAB). Teacher’s College Press.
OBSERVATIONS OF MY CURRENT SCHOOL CONTEXT
1. Lessons are teacher-centred and student outcomes are mainly stylistic in nature, with a focus on route-learning of art skills
2. Student voice and exploration is limited, with little opportunity to investigate alternative ideas, materials and art forms
Hence, these experiences and readings triggered me to think about:
1. How would choice-based lessons affect students’ learning and performance?
2. What changes do I have to make to my teaching to encourage choice?
3. How can choice build an art classroom culture that promotes active learning and develops studio thinking habits?
1. Students were introduced to David Hockney’s works in the lesson introduction and were given the art task to create a photographic collage in groups of twos or threes.
2. Students selected an object around the classroom, studied and collated 8-10 photographs of their subject, and created their collages using iPads.
DURATION
7- week art lessons:
1. 3 lessons on the Art Movement “Cubism”
2. 1 lesson for consolidation (Gallery Walk)
3. 2 lessons for students to work on their individual art project
4. 1 lesson for presentation and critique
5. Teacher’s reflection on the process and journey
Introduction to Cubism and Paper Collage
1. Students analyse selected Cubist artworks and identified the EoA and Cubist techniques (juxtaposition, fragmentation, multiple viewpoints etc.) in their group discussion.
2. Students prepare their own paper collage works after picking up resources from the teacher’s table.
1. After watching a video on Picasso’s Guitar Sculpture, students were given the task to create a Cubist sculpture of a musical instrument in their respective groups.
2. Materials were drawn from the teacher’s table and students were given the choice to experiment with materials and techniques in making their sculptures.
Cubist Sculpture
Photographic Cubism
Gallery Walk
1. In the gallery walk, all student works from the previous three lessons were showcased and students had the opportunity to assess one another’s works based on the following criteria: Aesthetics, Control of Medium and Studio Habits
2. Through the gallery walk peer assessment, students learnt to appreciate the creative expressions of their peers and gained feedback on their art skills and knowledge.
3. Teacher Assessment: I use a one-point assessment rubrics to give students feedback on their strengths and opportunities for growth based on the 3 criteria: Aesthetics, Control of Medium and Studio Habits.
Students’ Individual Cubism Project
1. Prior to this lesson, students were instructed to bring all necessary materials needed to create their artworks. This was a significant first lesson for students to take ownership and be self-directed in what they wanted to do for their final project. Some students were lost initially, but settled into an art form they were comfortable with after they observed their peers at task. The classroom was abuzz with activity and noise!
2. By lesson 6, students who have not worked on their projects or who were indecisive made quick decisions to settle to completing their project using an art form that they felt was most ‘convenient’.
Findings
STATISTICS: CHOICE OF ART MEDIUM
From the statistics, we can tell that most students preferred to create their artworks digitally using the ipads or handphones (121 students). The second preferred art form was paper collage (61 students) and lastly, sculpture (49 students). Some classes had very different class profiles and preferred sculpture over paper collage.
STUDENTS’ REFLECTIONS
I find it very fun to create artworks with my imagination with no limits to what I can do.
Ming Kai, 1E1
I
I enjoyed working with my friends to make a cubist sculpture.
I really enjoyed piecing the pieces together to become an artistic piece. I also learned that it takes a lot of effort and creativity to even know what to work on a project.
Aliyah,
I got to explore different techniques in building a sculpture. Ryan, 1N2
What I learned
about a choice-based learning in an Art classroom affecting students’ learning and performance
TEACHING STRATEGIES THAT ENCOURAGE CHOICE
1. Organise media centres and resources for students at the teacher’s table.
2. Think about learning activities that would help students understand the key lessons ideas through inquiry and allow them to have more time to explore the art medium.
STUDENTS’ LEARNING AND PERFORMANCE
1. Students were generally more engaged and participated in learning activities.
2. Students who were weaker in drawing skills found confidence in using other art media to explore their interests (e.g. using digital media).
3. Students dared to explore and try new media and techniques, many venturing on their own to explore their art ideas.
4. Students learnt to communicate and present their ideas and artworks to their classmates, building their self-confidence in making presentations.
3. Teacher functioned as a facilitator and guide for students when they needed help. Students worked independently most of the time.
4. Some students who were not used to being independent had to learn on-the-go.
5. I was learning from my students! (Different ways to create sculpture, photo-collage, apps etc).
Dafinah, 1E3
Simin, 1E2
Insights & Possibilities
Cultivating Voices through Choice
Angelina Chia
Art Coordinator
Tampines North Primary School
Inspiration
LEARNING ENVIRONMENT
Presentation by Janet Taylor at the 2018 NAEA National Convention on “Challenge Your Students to THINK! Turn Structured Projects Into Building Blocks for Student-Driven Artwork”
A learning environment that promotes choice and decision-making:
1. Empowers students to take active ownership of their learning
2. Facilitates student-driven exploration
3. Encourages outcomes that connect to students’ personal experiences/ expressions
4. Provides experiences that amplify students’ voices
Hence, my query: Will adopting a choice-based learning environment encourage self-directed exploration, engender development of personal ideas and increase engagement levels?
I drew ideas from the book, “Engaging Learners through Artmaking: Choice-based Art Education in the classroom (TAB)”, by Douglas, Katherine M. & Jaquith, Diane B (2018). Teacher’s College Press.
A choice-based classroom provides students with choices to express their ideas. Choice is utilised in art classrooms as a method for teaching for artistic behaviours (TAB), e.g. planning, problem-solving and generating ideas.
TAB IS A LEARNER-CENTRED PEDAGOGY WITH 3 CORE PRINCIPLES:
artists do?
METHODOLOGY
PARTICIPANTS
1. 2 classes of Primary 2 students:
• Class 2.2 ( 28 students)
• Class 2.3 ( 27 students)
2. 1 control group
• Class 2.1 ( 27 students)
DURATION
1. Phase 1:
DATA COLLECTED 1. Interviews 2. Observations
3. Peer assessments
4. Poll
• Rearrange supplies to facilitate independent access to media
• Re-look at teaching habits/ routines to implement routines
2. Phase 2:
• Implement moderate choice in media and process
• Collect data: observations, interviews and dialogues with students
3. Phase 3:
• Set-up centres to facilitate full choice in media
• Conduct reflection, peer assessment
HOW THE STUDENTS RESPONDED?
Frequently referred to the teacher for permission:
“ Can I take this?”
“ How many can I take?”
“Where to take from?”
“What can I use this for?”
ROUTINES
Drew ideas from lesson observation of the art teacher, Amanda Rengli, from MacDonald International School.
Routines can be creatively designed to :
1. Foster a positive learning attitude
2. Instil a sense of consistency and ‘stretch’ artmaking time
3. Provide a stable environment for exploration and expression
4. Promote independence and self-management
The goal of a TAB-Choice curriculum is to help students reach independence.
MY OBSERVATIONS
1. High wastage of materials
2. Long clean-up time
3. Students were uncertain about the affordances of the materials/ media
4. Students were concerned about making mistakes. They were quick to seek for help whenever they encountered difficulties.
5. Processes and artworks show little variation from control group
PHASE 1
REFLECT AND REFINE
1. Control the range of media and tools to be made available
• Labels that provide information to promote awareness of the media and tools so as to enable students to make informed choices.
2. Establish routines & expectations Eg: Students recite this pledge at the start of every lesson to foster artist’s disposition PHASE 2 & 3
3. Cultivate artistic behaviours
How do artists behave?
i. They are not scared to try different ways of doing their art.
ii. They think of ways to solve their problems when making their art.
iii. They teach and share with their friends.
iv. They are responsible. They take care of things and are not wasteful.
v. They are creative, they do things in new ways.
vi. They try their best when they do their artwork.
HOW DID THE STUDENTS RESPOND AFTER THE REFINEMENT IN PHASE 1?
1. Students more self-directed Low dependence on permission from teacher
2. Reduced wastage of materials Clean-up time reduced
3.
CHOICE CENTRES
MY OBSERVATIONS OF MY STUDENTS’ BEHAVIOURS
HIGH DEPENDENCE
1. Hesitant
2. High wastage
3. Disorganised
4. Minimal variation vs control group
MID DEPENDENCE
1. Spontaneous
2. Indecisive and unsure of affordances of materials/ media
3. Some variation vs control group in expression/ interpretation of theme
LOW DEPENDENCE
1. Accessed materials independently
2. Actively explored materials
3. Purposeful choice and use of materials
4. Wider interpretation of theme
5. Generated questions about their observations and wonderings independently
6. Spontaneous conversations taking place as students shared their discovery of the affordances of materials and media.
I want to use the sponge to take out the colours to make the later parts as clouds in the sky. I use sponge because it can suck up water.
I want to put salt on the not very wet paint because I don’t want salt to dissolve. I want to make a rough texture because rocks are rough.
Students in the focus group gave more specific feedback, using relevant art vocabulary in their comments.
STUDENTS HAVE POSITIVE FEEDBACK ON CHOICE-BASED CLASSROOM
This is my art and it is about me and my ideas so I want to choose what I use to make it.
Choosing what to use is scary because I always follow instructions in class. When I need to choose, I need to think about why I am choosing it so having choices make me think more (about what I am doing).
Choices give me a chance to say what I want to tell in my art with the materials I want to use. I learn how to use different materials by trying out and see which one fits my idea.
Takamon, Pri 2.3
Yi Fei, Pri 2.2
Sometimes I don’t know what to do so I try the different things to give me ideas. Vy, Pri 2.2
Findings
BASED ON A SURVEY GIVEN OUT TO STUDENTS AT THE END OF PHASE 3
Questions Students’ Responses Conclusion
Do you like that you are given the choice to decide on the materials to use to for your artwork?
Do you feel that having choices help you to tell your ideas/ story better?
I don’t mind
Majority of the students enjoyed the access to choices and felt that it helped them to express their ideas better.
What I learned
about cultivating voices through Choice
Would like to be given choices to decide what you want to draw or do during Art lessons?
Students who did not like access to choices indicated that they felt unsure how to develop their work with no instructions.
Majority of students did not want to decide on the theme or content for their artworks as they felt that they will not be able to learn any new skills without an adult’s input.
I started on the premise that the project will be about rearranging the physical environment to provide for choices.
1. Physical changes did not yield the outcomes envisioned.
2. A lot of preparation work required.
3. Constantly reflecting and evaluating why certain routines and areas were not working.
4. Students resistant to the changes.
1. More time to interact with students.
2. Expanded my perspectives and ways of seeing.
3. Students generated questions, demonstrated curiosity about the world around them.
TO OFFER A CHOICE-BASED APPROACH IN A MEANINGFUL WAY REQUIRES
1. The combination of a purposeful physical set-up
2. A deliberate, consistent implementation of routines and expectations that are clearly expressed
TO ENCOURAGE AND HEAR STUDENTS’ VOICES
1. Resist the urge to evaluate according to my own aesthetics
2. Give students time, space and guidance to figure out the decision-making process
EMPOWERING STUDENTS THROUGH CHOICES
FOSTERS THE JOY OF LEARNING DEVELOPS ENTREPRENEURIAL DARE
Increased ownership as students are driven by their own interests and choices
Students co-construct knowledge and collectively devise strategies to resolve challenges
Self-directed in searching for knowledge through their own investigations
An increased confidence in their use of language to talk about art and to reflect on their experiences
Demonstrates flexibility in working out alternatives
Insights & Possibilities
ENCOURAGING LEARNER ENGAGEMENT
Teachers encourage student engagement in the affective, behavioural and cognitive domains. Engagement is an important condition for deep and joyful learning. Students are engaged when they are attentive, motivated and actively involved in the learning process.
How do we encourage “every student to be an engaged learner” in the art classroom?
Empowering Students Through StudentLed Museum-Based Learning
Chia Ying Art Coordinator
Serangoon Garden Secondary School
Inspiration
Children do not come to museums of their own accord; adults make museum-going choices for them. The field trip is a crucial initiation into the world of museums… it is imperative that they have great, not just good, experiences. I contend that museums are much more likely to see students return a visit as adults if they have positive experiences in the museum as students, especially if they have the opportunity for repeat visits.
Lori Eklund
As part of the Lower Secondary Revised Art Syllabus, students are encouraged to learn art through various experiences and platforms. This includes a visit to at least an art exhibition outside the school context. Through this study, I want to find out how to deepen the learning in art museums and ways to encourage students’ ownership in terms of making choices, raising comfort and confidence level to talk about art as well as increasing creativity and curiosity.
3. Sec 1 student-led postexperience written survey
DURATION
1. Part 1 Docent & Teacher-led MBL with Sec 3: 4.5 hours session at National Gallery Singapore learning about various artworks and themes led by docent and teacher. Teacher-led MBL included activities (drawing, writings, questioning and discussions) that ended with students planning for possible MBL activities for their classmates
2. Part 2 Training Sec 3 student-docents: 3 x 2 hours training for studentdocent session (Activities: Group discussions, making-choices, research, online documentation, questioning & role-play)
3. Part 3 Actual Sec 3 student-docent MBL with Sec 1 students: 2 hours studentdocent MBL led by Sec 3 students
PART 1 DOCENT & TEACHER-LED MBL WITH SEC 3
Documentation of students’ planning for possible MBL activities for their classmates
STUDENTS HAVE POSITIVE FEEDBACK ON DOCENT AND TEACHER-LED MBL EXPERIENCE. Positive response led to students wanting to be an advocate and having a sense of social responsibility to share art knowledge with others.
I like dramatising as Eugene and Georgette Chen to imagine what they were feeling and thinking.
Asking questions to make me think and understand the work better.
WHICH SEGMENT OF MBL DID YOU LIKE THE MOST? WHAT MADE IT YOUR FAVOURITE?
Majority: Seeing many artworks and how the works had deeper meanings upon analysing.
HOW HAS THIS EXPERIENCE DEEPENED YOUR UNDERSTANDING AND LEARNING OF ART?
Majority: Deepened understanding of how artists represented the same theme/ issue differently.
The explorations and activities that the teacher created help me to understand the meaning of the painting better.
Use as inspiration when creating art.
How can I show others what I’ve learnt?
WHAT MORE WOULD YOU LIKE TO LEARN IN MUSEUM-BASED LEARNING SETTING?
Majority: Seeing artworks from artists beyond Singapore & Southeast Asia.
PART 2 TRAINING SEC 3 STUDENT-DOCENTS
3 KEY IDEAS
EMPOWERING
Students’ choice of artist, artwork & activity
FACILITATIVE STRATEGIES:
ENGAGING Group discussions & consultations
Anchored with Art-based Inquiry Questions
Understand Sec 1’s prior knowledge
OWNERSHIP What to research? What is important to share?
Worksheet: Scaffold to help students to refine their plans and objectives of activities
Online research & discussion: Information about artist and artwork
Role-playing: Rehearsing as docents with peers
Students refine the objectives, questions and activity for MBL
Refining key questions and student-docent facilitation using Art-Based Inquiry Questions
3
SEC 3 STUDENT-DOCENT MBL WITH SEC 1 STUDENTS
Procedure: Setting ground rules, facilitating activities and using questioning techniques to encourage discussions about the artworks and artists.
Findings
EMPOWERMENT EXPERIENCED BY SEC 3 STUDENT DOCENTS THROUGH MBL:
21ST CC SKILLS: BUILD CONFIDENCE, COMMUNICATION, COLLABORATION AND FACILITATION SKILLS
1. “Step out of my comfort zone to speak to the Sec 1 even though I am scared of their reaction”
2. “Be bold to speak up more so that I can engage my juniors and for them to understand better”
3. “Be open-minded and encouraging so that our juniors have the courage to answer our questions and learn more”
DEEP LEARNING, NURTURE RIGOUR & PERSPECTIVE-TAKING
1. “Choose to be composed and learn how to work with difficult people”
2. “Build rapport and break the ice to engage Sec 1 who are very shy to talk”
3. “Mindful of our actions as we are their seniors/role model”
4. “Remain calm and patient and not to lose our cool”
5. “Have to maintain discipline”
1. “A lot of preparation beforehand for a docent, e.g. sufficient research must be done to understand the artwork so to explain to our juniors”
2. “Interesting how Sec 1 interpreted artwork differently”
3. “Awed by Sec 1 who pointed out things that we didn’t observe, e.g. palm trees on the Seaside artwork that we didn’t notice earlier”
1. “Understand how my teacher feels when teaching”
ENCOURAGED EMPATHY & PERSPECTIVE-TAKING
IN-DEPTH LEARNING & LEARNING HOW TO LEARN 1 2 3 4 5
2. “Artworks are interpreted by various audience differently, maybe even the artists themselves did not think of, which emphasises people’s creative thinking”
1. “Teaching our juniors is like revision for us”
2. “Think deeper into the meaning of an artwork and ask myself questions”
3. “Sec 1’s questions allowed me to learn new things”
4. “Gain some inspiration for my future artwork”
What I learned
about student empowerment through MBL
FOR STUDENTS:
1. Students enjoy learning in museums.
2. They appreciate opportunities where they are empowered to take on ‘adult roles’ in a simulated real-world context.
3. With a sense of purpose, students are intrinsically motivated to discover, prepare and build themselves up to meet the expectations.
4. ‘Safer’ to work in teams when encountering new experiences.
FOR TEACHERS:
1. Art-based inquiry questions are useful to facilitate thoughtful discussions.
2. Teachers to take a step of faith and try out MBL activities – It’s okay when one fails in executing activity or facilitation - failing is part of the learning process for us too!
3. Plan a feasible timeline, gain support from SLs and art colleagues and have a targeted group of student participants who will benefit meaningfully.
Secondary 1 students’ feedback on post MBL survey
Secondary 3 students’ reflection on student-docent MBL experience
Fostering Creativity
Through Inquiry-Based Learning (IBL)
Jess Chen Xiangling
Art Coordinator Haig Girls’ School
Inspiration
Creativity has always been intrinsically linked to art education and many art educators believe that it is paramount to artistic practices. However, this innate ability of inventiveness has been said to be ‘educated out of us’ as we grow older.
Enhancing creativity in our students should be seen as equally if not more important than the teaching of art elements and design principles. Yet, not enough emphasis has been placed on developing creativity in our students, despite it being an integral part of assessment.
With a shift in the Singapore’s Art syllabus in 2018, art educators are encouraged to design and deliver inquiry-based art lessons. Through this research, I am curious to find out if this shift in pedagogy helps to better foster creativity in my students as compared to the traditional methods of teaching art.
With the increased student-centricity and the ability to question, explore and investigate the world around them, will my students be able to step out of their comfort zones, allow themselves to make mistakes and dare to be different?
CREATIVITY HAS BEEN GROUPED INTO 4 BROAD CATEGORIES BY DONALD TREFFINGER:
OBSERVATIONS OF ONE OF MY PRIMARY 6 ART CLASSROOM:
LESSONS AND TASKS
1. Lessons in upper primary classes are still non-inquiry based as time is needed to build the lessons
2. Lessons need to have more depth
3. Elegant tasks need to be more authentic and be based on issues that are important to students
STUDENTS
• Not engaged
• Not asking much questions
• Not responsive
• Lacking creativity
METHODOLOGY
PARTICIPANTS 38 high ability Primary 6 students
COLLECTED
Pre and post creativity test survey results
Artworks
Artist statements
Brainstorming mind maps
Reflections
Generating ideas
Digging deeper into ideas
Interview transcripts DURATION
Total of 8 lessons: 1. 4 lessons (pre and post surveys/tests, art appreciation, critique session and interview)
Listening to one’s inner voice
Openness and courage to explore ideas
2. 4 lessons (explore the elegant task, research, learn about the EoA/PoD and produce a final artwork)
LESSON 1
Administering Pre-lesson
Creativity Perception survey and drawing activity 1
Responses from Students
[EXPRESS/REFLECTION] Artist Statement & Critique session 7
Findings
Not enough time
Some topics do not allow you to draw what you want
Others’ opinions limit creativity as it affects personal thinking
STUDENTS’ REFLECTIONS
…if I want to do something else, they (the teachers) say no, you must do this…I can’t be creative in that way, if I am doing what other people want.
LESSON 8 Administering Post-lesson Creativity Perception survey and drawing activity + Interview with students
AN INTERVIEW WAS CARRIED OUT ON 4 STUDENTS AND 4 BASIC QUESTIONS WERE ASKED:
1. What is creativity to you?
2. What helps you to become more creative?
3. What hinders your creativity?
4. Does having an inquiry-based lesson allow you to be more creative as compared to traditional teaching where the teacher tells you what to do? Why?
WHAT LIMITS CREATIVITY?
Our mindsets
When we are not willing to think (of) ideas and always think that we cannot do it
I think there are no limits to creativity as our brains are constantly working
What hinders my creativity is sometimes I am not able to focus and concentrate, maybe because I don’t have enough rest or I‘m hungry. Sometimes the environment that I study in…I get very distracted and I can’t come out with ideas because I get carried away with doing other things.
A
Freedom of expression
We can see more artworks which are not as normal as others…as it gives me more ideas and possibilities…
STUDENTS’ REFLECTIONS
I’d rather work alone (be)cause I can be more creative and I can do whatever I want.
A
Learn different things and not always stick to the medium you like, so that you can have a different perspective
Being surrounded by my friends WHAT IMPROVES CREATIVITY?
In the classroom, there are a lot of things around me, then I would have some inspiration to do something, or when someone suddenly talks about something and I am like “Oh I can do this thing” then I will want to…
C
…firstly surround yourself with creative people... not only can you learn from them but sometimes they can even learn from you, and secondly I think what helps is that when you actually have to get involved with it, not just listening to teachers telling you what is creative.
Student G
DOES IBL FOSTER CREATIVITY?
STUDENTS’ REFLECTIONS
Sometimes I would do things that are nonsensical, people don’t understand (me)…I can look at my own topics and I can find out what I want instead of finding out what other people want.
Student A
To be very honest, I am not very sure, but it has definitely taught me different ways to be creative and there is not only one possibility to find out how to have a new idea. It has taught me that you can actually be inspired by many things…
Student C
Yes, because we don’t have direct instructions and sometimes I feel that the direct instructions may be problematic somewhat…I can just do whatever I want, and also if it goes wrong, I can fix it myself and not rely on the teachers.
Student B
I do believe it is better. Usually it is the teacher who tells you what to do, you have a strict schedule, and you have to follow it, but for this, we didn’t have any plan, all we had was the guideline of what we had to do…it was all up to us and it puts all the responsibility on us, so I really did enjoy it
Student C
What I learned
about fostering students’ creativity through IBL
1
CREATING A CONDUCIVE LEARNING ENVIRONMENT
1. Celebrate students’ ideas and Aha! moments.
2. Maintain flexibility in lesson design and allow for adaptations based on students’ learning needs.
3. Encourage discussions and cross-pollination of ideas amongst students.
2 3
CULTIVATE STUDENT THOUGHT, VOICE AND CHOICE
1. Provide opportunities for students to think and to explore topics/issues close to their hearts.
2. Encourage students to deepen their understanding of themes and ideas through research and investigation.
3. Develop autonomy by allowing students to choose their own media for artmaking.
DEVELOP MINDSETS
1. Inculcate “can-do” and “mistakes are welcome” mindsets among students.
2. Challenge students to step out of their comfort zones by encouraging them to explore new media and ideas.
3. We as teachers need to take the initiative in innovative lesson design and delivery to pique students’ curiosity.
Student
Student
Insights & Possibilities
Teaching Performance
Art with Movement and Improvisation
Siti Rafidah Binte Rahman
Art Teacher Temasek Junior College
Inspiration
As an Art and Drama teacher, I was always intrigued by how strategies in one art form might inform the other. Specifically, I was interested in how drama strategies might help my art students in idea generation, expand possibilities for artmaking, and better understand performance art works in the Study of Visual Arts (SOVA). As such, this critical inquiry project was an exploration into how two drama techniques, movement and improvisation (improv), inform the way students conceptualise and execute their own performance art piece.
According to interdisciplinary artist and educator Marilyn Arsem in the article “Some Thoughts on Teaching Performance Art in Five Parts” (2011), performance art was not about re-creating a narrative or re-enacting life events. Rather, the focus was on the act of doing and experimentation of actions.
METHODOLOGY
PARTICIPANTS
7 students from JC1 Art class
DATA COLLECTED
1. Video documentation
2. Notes from lesson observation by peers
3. Results from survey, discussion and peer review
DURATION
1. Learn about spatial awareness and the artist’s body by looking at works by Singaporean artist Tang Da Wu and German artist Joseph Beuys
2. Learn how to create narratives using gestures and improvisation
3. Consider symbolisation in found objects
4. Conceptualise performance art piece by drafting a performance proposal
5. Perform the work
6. Engage in critique, reflection and discussion
SNAPSHOTS OF LESSONS This session focused on
improvisation.
Findings
NOTES FROM LESSON OBSERVATION BY PEERS
…insightful studio practice that takes the lesson outside of the classroom, into the psyche of the artist/audience through engagement with performance…
Art Teacher
Students were engaged in linking the forms of ready-mades, ritualism, drawing, and performances, to derive meaning out of it.
Art Teacher
Meaningful empathetic experience in journey to understanding the artists.
RESULTS FROM STUDENTS’ SURVEY
6 out of 7 students found the exercises useful/ very useful in understanding performance art and performance artists’ works.
4 out of 7 students
found that using improvisation, gestures, movements, and found objects, useful in re-enacting a performance artist’s work.
General Paper Teacher
4 out of 7 students found the drama exercises useful in conceptualising a performance art work.
Ghost in the Sketch by Abdiel
Untitled (Hugging) by Ning Xuan
“I really enjoyed the one where we tried to recreate the performance art. The exercise forced us to really try to understand the artist and also experience his/her thought process.”
“I really enjoyed it. I kind of wish it was included in the IP Aesthetics. Watching my friends perform their art pieces was really one of the best art lessons I’ve had so far.”
“The act of being painted on can be a symbolism of being easily influenced. Perhaps Andrea wants to convey how the people one surrounds himself/ herself with can influence one’s character and personality. Each audience member’s personal style transfers onto the performer’s clothes, like how one can subconsciously inherit traits from people whom they spend a lot of time with.”
What I learned
about teaching performance art with movement and improv
1 CREATING A SAFE SPACE
1. Not all students are enthusiastic or even comfortable with performance art so take time to scaffold the experience by posing guiding questions and encouraging discussions.
2. Make sure they know there is always the option to sit out of an exercise or stop their own performance if they feel uncomfortable and/or unsafe.
2
MOVEMENT AND IMPROVISATION ARE EFFECTIVE STRATEGIES TO ENGAGE AND GARNER EMPATHY
1. Since performance art depends a lot on the artist’s body and relationship with the audience (as well as time), engagement and empathy are two important elements to develop in our students when teaching about performance art.
2. Ability to engage and empathise can help students better understand the art and artists’ intention, and better grasp real world issues, themes and/or concepts.
3
PERFORMING TO AN AUDIENCE
1. Consider ways students can authentically and safely enact their performance art works to a planned/unplanned audience within the school.
2. Alternative to live performance can be showing the video documentation of the performance art work to an audience.
4
OTHER DRAMA STRATEGIES FOR CONSIDERATION IN THE ART CLASSROOM
1. Tableau: using movement and gestures to reenact the scene in a narrative artwork.
2. Art Historian/One Word Historian: entity answers while audience questions.
Insights & Possibilities
SUPPORTING SELF-DIRECTED LEARNING
Teachers facilitate student reflection and self-directed learning to encourage deep learning. Through teachers’ facilitation, students are guided to think about their own thinking and to reflect on the extent of their learning.” As students work, they should receive timely structured feedback from teachers and peers, and be given time to reflect on their work. Supporting self-directed learning is critical to foster creative processes and nurture each students’ artistic voice.
How might art teachers support self-directed learning?
Instilling the Joy of Learning about the Study of Visual Art through Sketchnoting Approach
Farah Diba A Aziz Senior Teacher (Art) Edgefield Secondary School
Inspiration
BENEFITS OF JOURNALS
(SKETCH-NOTING)
Presentation by Associate Professor David Modler at the 2018 NAEA National Convention on Visual
Journal as Preservice Document and Dialogical Tool
1. Provision of a creative & safe space
2. Not teacher-directed
3. Not prescribed & predictable
4. 5’x 5’ card activity
Drew ideas from the book Journal Fodder 365: Daily Doses of Inspiration for the Art Addict by Eric M. Scott and David R. Modler
1. Creative potential
2. Gather information, explore possibilities, make connections
3. Portability
4. Journaling kit & art-illery
5. Operative words
6. Writing techniques
The teaching and learning of a SOVA artist is usually lecture-based and dominated by words. My study, however, argues that the learning of a SOVA artist can be joyful via sketch-noting or visual note-taking where notes become more visual, mixing words with drawings. The seven sketch-noting patterns, as advocated by Mike Rohde, were introduced to participants of the study and two sketch-noting approaches -- real-time and two-stage sketch-noting were practised. Results showed that students were more engaged, and sketch-noting can make the learning of a SOVA artist enjoyable.
TEACHING SOVA -- A COMPARISON BETWEEN 2 APPROACHES
MY USUAL TEACHER-DIRECTED / LECTURE STYLE
1. Teacher discusses the SOVA artist and his/her artworks via slides.
2. Students are usually given a copy of the slides and this functions as lecture notes.
3. These student-lecture-notes have blanks and students will need to refer to the teacher’s slides to fill in the missing points.
REVISED STUDENT-DIRECTED / SKETCH-NOTE STYLE
1. No pre-prepared slides or lecture notes.
2. Students have the freedom to inject their personal style while they record and represent their thoughts and what they hear about a SOVA artist.
3. Students’ documentation will likely to appear in the form of drawings, symbols and words.
PARTICIPANTS
1. 7 Secondary 4 Express students
2. All girls
METHODOLOGY DURATION
DATA COLLECTED
1. Twenty-one sketch-notes
2. Audio data - recorded interviews after the first and second session
3. Written data - twentyone pages of written responses to the structured questionnaire (SQ) distributed at the end of the third session
1. Introduction to sketch-noting, techniques and trial run
2. Artist 1 - Nam June Paik
3. Artist 2 - Thomas Heatherwick
4. Artist 3 - Marcel Duchamp
4. Introduced mini relevant tasks to engage students and check for understanding.
4. Students are encouraged to add their own opinions or humour and there is room to be whimsical, i.e. students can represent their understanding with a rich play of graphical elements, especially to emphasise certain ideas.
WHAT I TAUGHT IN THE INTRODUCTORY LESSON
1. What is sketch-noting?
2. Types of sketch-notes / sketch-noting patterns
3. Two approaches to capture sketch-notesreal-time & two-stage sketch-notes
Marcel Duchamp Students’ choice of notetaking strategy LESSON 3 2
3
LESSON 2
Thomas Heatherwick Real-time/Live sketch-noting
Findings
Students have mixed responses towards TwoStage and Real-Time Sketch-noting techniques. One student preferred real-time sketch-noting because it prevented her from ‘overdoing’ her notes. However, real time sketch-noting can be challenging for students.
I personally like the live sketch-noting better because I don’t really…I usually end up overdoing my, ummm… notes if I, go over them, like write them down again…’
We’re doing on the spot so it’s like we just used markers and pens so it’s like when there’s mistakes, it’s harder to change but I think it’s very fun to do , yeah…interesting.
“ “ “
I
find it quite challenging because everything is quite fast-paced but overall, it’s quite fun.
It was interesting as I get to pen down my thoughts and reflections as little doodles and at the same time use the drawings to help me better remember what I am supposed to know.
I paid close attention and wrote down the key words using pictures is a very good way to remember certain information I learnt to write down key points… I learnt to personalise my notes. Writing our own notes allows better and easier understanding of content…I can rephrase it without leaving out keywords.
Students found sketch-noting enjoyable and acknowledged that it is a transferable skill which can be applied to other subjects.
“ “ “ “ “
I prefer the two-stage sketch-noting because I can plan better.
Students responded favourably to sketch-noting. They found sketchnoting fun, effective and beneficial. Sketch-noting helps them to:
1. Better remember the main content learnt.
2. Remember keywords.
3. Be interested to revise since the sketchnotes are visually appealing with colours and personal decorations.
4. Increase personal efficiency in recording information because sketch-noting allows preparation.
5. Better prioritise their time.
6. Paraphrase.
…we get to use our creativity in making the notes, we get to make the notes more unique and because it was more colourful, it makes the notes look nicer and make me want to read it more than the normal notes we usually get
…we really get to use our own creativity and understanding. I would like to try more if there’s a chance.
…never knew there were so many ways of taking notes! For example the vertical way, pop corn, skyscraper.
“ “ “ “ “ “
we get to choose what information to write down and we are writing in our own words so it’s better than just copying down we can add doodles and drawings, it’s like…it stays better in our memory…
we can sketch and draw anything like to decorate our sketchnote more fun
It’s not just like words, words, words, we listen, listen, listen, when we write, hhmm we are more awake…
…(can) decorate what we like
Hhhmm…I think it helps us to remember the content more easily because we ourselves, we wrote it down ourselves, we even went online to search all the details everything…we include all the drawings, it helps
…I have never done this in class before where the whole class is doing note-taking so anyone who has never done this before should try, either in class or at home when self- studying.
…(apply) sketch-noting in other subjects like Science or History so that we can learn in the most effective way. I would share this idea with my friends as it is very interesting, unlike the usual boring notes that we all previously received…Not only that, we can also exchange our sketch-notes with one another as each of our notes are very different.
Students faced several challenges when using the sketch-noting approach.
…my work tends to be messy so it is harder to read.
…was a bit messy and I missed out some points. There were a lot of art vocabulary and I felt lost at times but I can always clarify my doubt….It was stressful at times when you missed out on certain points.
…preparation is key to learning SOVA. With no prior knowledge of the SOVA artist such as the one we went through today, Marcel Duchamp, I found myself struggling to write the notes and understand the artworks fully.
What I learned
about using sketch-noting in the teaching and learning of SOVA
Sketch-noting is a progressive approach and it should be adopted in Singapore classrooms. My study has showed that sketch-noting is able to instil the joy of learning SOVA among students. Although sketchnoting may not be the perfect approach, it can be an effective method of learning in the art classroom.
Insights & Possibilities
How Might Contemporary Art Practices Help Students Find their Creative and Critical Voices?
Joyce Teo Art Teacher St. Joseph’s Institution
Inspiration
My interest in this topic came about when I attended a Curriculum Slam session at the 2018 NAEA National Convention in Seattle. The Teacher Advisory Committee from the Museum of Contemporary Art Chicago spoke about the importance of cultivating creative and critical youth voices in art, media and design curricula. As I delved deeper into this topic by reviewing literature, I realised the need to engage my students in deeper levels of thinking by providing opportunities for them to “explore broad, important human issues characterised by complexity, ambiguity, contradiction, and multiplicity” (Walker, 2001). This would give purpose and significance to their artmaking as well as gain insights into the creative and critical roles of professional artists.
METHODOLOGY
PARTICIPANTS
10 Students from Secondary 3 Level
1. 5 O-level & 5 Integrated Programme
2. All boys
DATA COLLECTED
1. Responses from survey administered pre- and post-intervention
2. Paintings and accompanying preparatory sketches created pre- and postintervention
3. Interview transcripts with the 10 students conducted at the end of the study
DURATION
1. Independent painting project focused on portraits of a typical Singaporean youth
2. Learn about contemporary artists and art practices in Singapore and in the region
3. Independent painting project focused on a contemporary issue of choice
PRE-INTERVENTION PROJECT BRIEF
are YOUths Concerned About? Paint a portrait of a typical Singaporean youth.
WHAT DOES SHE THINK AND FEEL?
What really matters to her?
What occupies her thinking? What worries and aspirations does she have?
WHAT DOES SHE HEAR?
What are friends, family and other influences saying to her that impacts her thinking?
PAIN
What fears, frustrations or obstacles is she facing?
GAIN What is she hoping to get? What does success look like? WHAT DOES SHE SEE? What things in her environment influence her? What competitors is she seeing? What is she seeing friends do?
Use of Empathy Maps
SERIES OF INTERVENTIONS TO FAMILIARISE WITH CONTEMPORARY ART, ARTISTS AND PRACTICES
3 Dede Eri Supria (Indonesian, b.1956 )
1. Supria focuses on issues about poverty as a result of urbanisation in Indonesia.
1. Chun makes art about things we encounter in our daily lives.
2. Chun’s artwork often depict these commonly seen items in a different perspective.
3. His signature “secret sauce” is “simplicity/ minimalism”, “down to earth”.
Robert Zhao Renhui (Singaporean, b.1983)
1. Zhao makes art about nature using digitally manipulated images.
2. His artwork often depicts fake animals that appear realistic. He does this to make people question the nature of reality.
3. His signature “secret sauce” is juxtaposing the unreal with the real.
POST-INTERVENTION PROJECT BRIEF
2. His artwork often depicts industrial infrastructure (metal walls, iron scaffolding) in twisting, winding arrangements.
3. His signature “secret sauce” is surrealism, realism in unrealistic situations.
In-person dialogue with artist Alecia Neo Looked at works by fellow student-artists in the 2018 SYF Art Exhibition on view at the National Gallery Singapore
2 lessons focused on various creative strategies used by contemporary artists:
1. Recontextualise: seeing things in new light
2. Appropriation: borrowing existing images
3. Extend/Project: imagining new possibilities
4. Metaphor: describing one thing as another
Refine ability to paint with acrylic on canvas
Expand possibilities for development of ideas
Gain understanding of personal creative process
Identify a contemporary issue you would like to champion through your painting. Remember to include stylistic and conceptual artists references.
What
Introduced works by the following contemporary artists in students’ own words:
Chun Kai Feng (Singaporean, b.1982)
SAMPLE OF PRE-INTERVENTION PAINTING PROJECT
Paint a portrait of a typical Singaporean youth.
STUDENT A Traditional mindsets affect the young
STUDENT D
So many distractions and temptations!
B Youths have rich imagination
STUDENT E
Struggling with body imageperceiving self as fat and weak
SAMPLE OF POST-INTERVENTION PAINTING PROJECT
Identify a contemporary issue you would like to champion through your painting.
A Water Conservation
STUDENT D Loss of Culture
STUDENT E Different religions in harmony
STUDENT
STUDENT
STUDENT B Plastic in Ocean
Findings What I learned
about how contemporary art practices might help students find their creative and critical voices?
1. I find the research process fun.
2. I learnt new things about my subject matter that I never thought of.
3. It was easy for me to decide on what I want to express.
4. I had many ideas.
5. My ideas kept improving along the way.
6. I was inspired by other artists.
7. Other artists taught me things or gave me ideas that made my work better.
8. My painting conveys a clear message.
9. My painting is a reflection of who I am or what I think.
10. My painting is important or relevant to society.
WHEN DESIGNING ART TASKS OR ART ASSIGNMENTS, CONSIDER:
Focusing on authentic relatable topics where students are encouraged to activate prior knowledge, consider multiple perspectives, and form opinions.
WHEN DISCUSSING ABOUT CONTEMPORARY ART AND ARTISTS, CONSIDER:
1. Distinguishing between stylistic and conceptual references.
2. Presenting a body of work by the artist instead of an isolated work to help students identify larger themes and big ideas.
3. Allowing time to research and discuss creative processes & conceptual strategies.
4. Discussing visual qualities, visual impact and communication of artists’ intentions. Pre Strongly Disagree (1) | Disagree (2) | Agree (3) | Strongly Agree (4)
ONE-TO-ONE INTERVIEW WITH STUDENTS
Almost all the students said they enjoyed working off the project brief as it was relatable. However, weaker students struggled with the openendedness of the project.
All the students indicated that they strived to be effective yet subtle and complex in the use of symbolism, but they struggled to convey their ideas with images.
Almost all the students agreed it was important for student-artists to respond to contemporary issues for their artworks to be more meaningful.
Only half the students mentioned that learning about contemporary artists helped them in developing their ideas and understanding the creative process. Most of the students found it challenging to connect their learning back to their own work, and felt they were copying if they were to use some of the artists’ ideas and concepts.
WHEN GIVING FEEDBACK OR ASSESSING STUDENTS’ WORK, Give time to listen to their ideas, and adjust personal expectations according to their social and emotional maturity.
Insights & Possibilities Find Out More
Art Discussion and Gallery Walk
Czujko-Moszyk, E. (2018). Creativity in inquiry based learning – In Search of Creativity: A compilation of international studies. Retrieved from https:// shirin.pressbooks.com/chapter/ chapter-8/
Marshal, J. & D’Adamo, K. (2011). Art practice as research in the classroom: A new paradigm in art education. Art Education, 64(5), 12-18.
Torrance, E.P., & Safter, H.T. (1999). Making the Creative Leap and Beyond. Creative Education Foundation Press: Buffalo, NY.
ChoiceBased Learning LearnerDirected Classroom
Douglas, K. M., & Jaquith, D.B. (2018). Engaging learners through artmaking: Choice Based Art Education in the Classroom (TAB). Teachers’ College Press: New York, United States.
Gates, L. (2016). Rethinking art education practice one choice at a time. Art Education, 69(2), 14-19. Jaquith, D. B., & Hathaway, N. E. (2012). The Learner-Directed Classroom: Developing Creative Thinking Skills Through Art. Teachers’ College Press: New York, United States.
Walker, S. R. (2001). Teaching Meaning in Artmaking (Art Education in Practice Series). Davis Publications Inc.: Worcester, United States.
MuseumBased Learning
Arias. C. & Gray. D. A. (2007). Adolescents in the Art Museum: Key Considerations for Successful Program. In Villeneuve, P. (Ed). From Periphery To Centre Art Museum Education In The 21st Century. (pp. 31 - 39). Reston: National Art Education Association.
Sweney. B.Z. (2007). Docents as Meaning Makers: The Frontline of the Museum Learning. In Villeneuve, P. (Ed.), From Periphery To Centre Art Museum Education In The 21st Century (pp. 31 - 39). Reston: National Art Education Association.
Zeller, W., Hinni, J. & Elson, J. (1989). Creating educational partnerships between academic and student affairs. New Directions for Student Services, 1989(48), 49-59.
Visual Journaling and Sketchnoting
Scott, E. M. & Modler, D. R. (2012). Journal Fodder 365: Daily Doses of Inspiration for the Art Addict (2012). F&W Publications Inc: Ohio, United States
