assembled and u n b o u n d: altered books as arts-based (re)search

Bead Found Object Collage Lecture and Workshop at the Peto Institute

P

Bridging Hungary and the US

The Colloquium was a wonderful example of bridging cultures and ideas.

Our Hungarian Colleagues

Judit Bergmann began the Hungarian presentations with her research topic, The role of visual symbols in the adolescent period, followed by Dr. Barbara Guttman who presented a portion of her dissertation research that focused on Understanding difficulty in learning to draw. Next, Virag Kiss discussed the her research on Education and therapy through art. Our final presentation for the day delivered by Erika Kolumban was titled, How visual education can enhance social inclusion? Thank you for the sharing your professional expertise and research knowledge!

Pictures from the Practice and Theory Colloquium

Our on-line international scholarly exchange began at 10:30 a.m. Philadelphia/4:30 p.m, Budapest. Jasmeen spoke about her research Teaching Multicultualism through Photoshop Layers: An intersection of technology and Art Education followed by Kelly Steinlage who talked about controversial topics with early adolescents in the art room. Our next presenter was Lindsey Sparagara who spoke about her research project titled, Collaborative Learning in an Arts-based community/university partnership followed by Courtney Todd who shared her pilot study, Characteristics of a Rich Art Program for Children with Autism in a Museum Setting. Thank you for sharing your pilot studies in such a professional and interesting way!

The American Presenters

From Left to Right: Dr. Lisa Kay, Courtney Todd, Jasmeen Rekhi, Lindsey Sparagara, Kelly Steinlage

Dr. Barbara Guttman: Understanding Difficulties in Learning to Draw

Visual Expression and Visual Learning
 Seen From the Perspective of
 Nonviolent Communication

      (Abstract)

Drawing gap, a decline in artistic performance around the age of 10-12 is explained by theories of Betty Edwards, Zsuzsa Gerő and Andrea Kárpáti. Edwards claims that the drawing gap appears due to the dominance of the right hemisphere over the right one. Gerő connects it to psychological factors and ambition to draw realistically, while Karpáti claims that drawing gap actually presents a change in taste and ways of visual expression, and not a true decline in quality.  Seeking continuity in visual expression, Kárpáti suggests a change of focus and tools in art education.

The difficulties students in art schools face in their drawing lessons are compared to the difficulties of the drawing gap. These two problems are examined from the NVC point of view and its understanding of judgement. It is shown that the judgmental cognitive pattern may be the potential cause of difficulties in progressing in drawing , both for children aged 10-12 and  art students (ages 14 and above) , and that it may mean that we are talking about one problem. The efficiency of Betty Edwards’ exercises is explained, with the creation of non-judgmental thinking patterns in students which leads to the state of flow.

 Three elements; syncretism, flow and non-judgmental approach; are suggested to be the basic elements of problem-free development and self-expression in drawing.

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Handout

Working Together: Collaborative Learning in Arts Based Community/University Partnerships
Lindsay Sparagana

At their best, university/community arts collaborations offer reciprocal rewards. Student artists benefit from interaction with a range of human experience, no matter in which venues they ultimately work. Their consciousness is raised about who gets to make art and why…they expand their sense of art’s capacity, as well as their own artistic possibilities. In cultivating the expressive and communicative capacities of both students and community members, community-based work also develops more self-confident and giving human beings (Collins, 2008, para. 9).


When designing a community/university arts based partnership, what teaching methodologies, models of curriculum and/or instructional strategies can be implemented to create the most reciprocal learning environment possible?


Basic principles of collaborative learning include:
-Learning actualized in small groups consisting of 2-6 persons.
-Interaction of students within groups is important in learning.
-Competition between groups is more important than competition among
students.
-Success or failure are belonging to groups more than individuals.
-Applications of this method combine students in classroom who have different
abilities and characteristics. Also, friendships increased among students.
-Cognitive, affective, and social behaviors of students are improved using this
learning application (Unalan, 2008, p. 871).


Elements that promote collaborative learning in community/university partnerships:
Relationship building through:
-Team/peer brainstorming
-Democratic decision-making
-The act of listening
-Exploration of personal and cultural narratives
-Applying the same amount of pressure to all students
-Let teams or pairs of students establish their own roles and responsibilities to hold one another accountable
-Change the curriculum of each partnership in order to meet the needs of the specific community in which the partnership will take place
-Celebrate the students’ relationship, showcase their work and process to the community so that they are merited in a public setting (Aldana, 2011; Mesa-Bains, 2002; Rocco, 2011).

Bibliography

Working Together: Collaborative Learning in Arts Based Community/University Partnerships
Lindsay Sparagana

Adams, D., & Hamm, M. (1996). Cooperative learning: Critical thinking and
collaboration across the curriculum. (Second Edition).

Bains, R. & Mesa-Bains, A. (2002). A reciprocal university: a model for arts, justice,
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Collins, K. (2008, August). In the midst: Cultivating citizens/artists. Retrieved from http://
wayback.archive-it.org/2077/20100906202939/http://www.communityarts.n
et/readingroom/archivefiles/2008/08/in_the_midst_cu.php

Dean, F. (1999). Moving the mountain: linking higher art education and communities. In R. Irwin (Ed.), Beyond the School: Community and Institutional Partnerships in Art Education, 47-56. Reston, VA: National Art Education Association.

Hagaman, S. (1990). The community of inquiry: An approach to collaborative
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Hutzel, K. (2006). Challenging our students’ place through collaborative art: A
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Engagement, 11(4), 125-133.

Hypki, C. (2009). Lessons from the art of solidarity: A teaching experience in
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net/readingroom/archivefiles/2009/11/lessons_from_th.php

Lawton, P. (2010). Hand-in hand, building community on common ground. Art
Education, 63(6), 6-12.

Norman, L. (2009). Resources for effectiveness: Collaborative arts partnerships in schools. Penn GSE Perspectives on Urban Education, 6(2), 62-7. Retrieved from ERIC database

Paul, J. (2005). Addressing inequality in education through a university/school arts
partnership. Proceedings of the 31st Annual Social Theory, Politics and the Arts
Conference, http://www.janiepaul.com/writing

Spilka, G., & Long, M. (2009). Building local capacity to bring arts education to all children: Lessons learned from the first half of the Ford Foundation's national demonstration. Perspectives on Urban Education, 6(2), 4-12.

Stephens, P. (2006). A real community bridge: Informing community-based learning through a model of participatory public art. Art Education, 59(2), 40-6. Retrieved from ERIC database

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education. The Journal of International Social Research, 1(5), 870-879.

Working Together: Collaborative Learning in Arts Based Community/University Partnerships

Working Together: Collaborative Learning in Arts Based Community/University Partnerships

Lindsay Sparagana

Abstract

This study presents the advantages of uniting university students and students in a community arts based setting to engage in art making together. This study was conducted in order to design a curriculum between photography students at the University of the Arts and elementary school student photographers at The Goodlands, a non-profit organization, both in Philadelphia, PA. Teaching methodologies, models of curriculum and instructional strategies that promote collaborative learning are examined in order to provide students with a reciprocal experience that is mutual beneficial for both parties.

ELTE University Presenters

Judit Bergmann The role of visual symbols in the adolescent period

Barbara Guttman Understanding difficulty in learning to draw

Virag Kiss Education and therapy through art

Erika Kolumban How visual education can enhance social inclusion?

Courtney Todd Bibliography

Bibliography

Baker, P., Murray, M., Murray-Slutsky, C., & Paris, B. (2010). Faces of Autism. Educational Leadership, 68(2), 40-45. Retrieved from EBSCOhost.

Evans, K., & Dubowski, J. (2001). Art therapy with children on the autism spectrum: Beyond words. Philadelphia, PA: Jessica Kingsley Publishers, Ltd.Frith, U. (2008). Autism: A very short introduction. New York, NY: Oxford University Press, Inc.

Furniss, G. J. (2009). Art lessons for a young artist with Asperger’s Syndrome. Art Education, 62(3), 18-23. Retrieved from EBSCOhost.

Furniss, G. J. (2008). Celebrating the artmaking of children with autism. Art Education, 61(5),8-12. Retrieved from EBSCOhost.

Furniss, G. J. (2010). Reflections on the Historical Narrative of Jessica Park, an Artist with Autism. Art Therapy: Journal of the American Art Therapy Association, 27(4), 190-194. Retrieved from EBSCOhost.

Grandin, T. (1995). Thinking in pictures and other reports from my life with autism. New York, NY: Doubleday.

Guay, D.M. (1995). The sunny side of the street: A supportive community for the inclusive art classroom. Art Education, 48(3), 51-56.

Keifer-Boyd, K., & Kraft, L. M. (2003). Inclusion policy in practice. Art Education, 56(6), 46-53.

Kellman, J. (2001). Austism, art, and children: the stories we draw. Westport, CT: Bergin & Garvey.

Martin, N. (2009). Art as an early intervention tool for children with autism. Philadelphia, PA: Jessica Kingsley Publishers.

Mason, C., Thormann, M., & Steedly, K. (2004). How students with disabilities learn in and through the arts: An investigation of educator perceptions. Unpublished manuscript, VSA arts Affiliate Research Project. Retrieved from http://www.vsarts.org/documents/resources/research/arpfinaldraft.pdf

Notbohn, E. (2006). 10 things your student with autism wishes you knew. Healing Magazine, 20-21.

Sacks, O. (1995). An anthropologist on Mars. New York: Vintage Books.

Salend, S.J., & Duhaney, L.M.G. (1999). The impact of inclusion on students with and without disabilities and their educators. Remedial and Special Education, 20(2), 114-126.

Seymour, S. (2008). Friends' Discovery Camp. Exceptional Parent, 38(3), 24-25. Retrieved from EBSCOhost.

Schleien, S. J., Mustonen, T., & Rynders, J.E. (1995). Participation of children with autism and nondisabled peers in a cooperatively structured community art program. Journal of Autism and Developmental Disorders, 25(4), 397-413. Retrieved from EBSCOhost.

Steinberg, S. (2010). Program helps disabled kids express themselves through art. USA Today. Retrieved from EBSCOhost.

VSA, The International Organization on Arts and Disability, & CVS Caremark All Kids Can. (2010). State of
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Characteristics of a Rich Art Program for Children with Autism in a Museum Setting

Characteristics of a Rich Art Program for Children with Autism in a Museum Setting
By Courtney Todd

Abstract

Autism is a pervasive developmental disorder characterized by a wide range of disabilities, from severe social and communicative deficits to only slight difficulties interacting with other people. The increased incidence of diagnosed cases of autism coupled with special needs legislation passed since the 1960s, which requires the inclusion of more special learners in regular classrooms has provided an urgent need for pedagogical autism research. Researchers have found that art making is a valuable means of communication for children with autism who are unable to express themselves in words (Grandin, 1995; Martin, 2009; Evans & Dubowski, 2001; Kellman, 2001; Steinberg, 2010).

Most of this research, however, centers on art making in a classroom or home setting. In this pilot study, I sought to examine the characteristics of a rich art program for children with autism in a community setting: the museum. My literature review revealed three successful community-based art programs for children with special needs: the HEARTS Program at Texas Tech University, Friends’ Discovery Camp at the Creative Discovery Museum in Tennessee, and KIDSPACE at the Minnesota Museum of Art.

Additionally, I interviewed four professionals in the field, including two special educators, one therapist, and one museum educator. Several common characteristics about a rich art program for children with autism emerged including: highly trained and compassionate staff, individualized instruction, multi-sensory projects, consistent schedule, and inclusion of typically developing children. Informed by my research, I plan to develop an art program for children with autism at the newly opened Delaware Children’s Museum.

Temple University/Tyler School of Art Presenters

Jasmeen Rekhi Teaching Multicultualism through Photoshop Layers: An intersection of technology and Art Education

Lindsey Sparagana Collaborative Learning in an Arts-based Community/University Partnership

Kelly Steinlage Is silence golden? Talking about Controversial Topics with Early Adolescents in the Art Room

Courtney Todd Characteristics of a Rich Art Program for children with Autism in a Museum Setting

Teaching Multiculturalism through Photoshop Layers: An Intersection of Technology and Art Education

Abstract

This study presents an alternative approach to using technological software to help students develop cultural awareness. The goal of this study is to provide effective interaction between high school students of diverse backgrounds through an interactive digital medium.  With the rapid increase of the use of technology in the World, students learn about themselves and others around them through experiences with technology, thus it is important for art educators to incorporate technology into the art education curriculum. The use of computers with art captures the attention of adolescents making their art learning experience a positive one.  The technological software used in this study is Adobe Photoshop^®.  Characteristics of one’s personal culture will be identified through a writing prompt and then used to create at least five pieces of art work each reflecting a different characteristic. The art pieces will then be scanned into the computer for digital manipulation with various software programs, including Adobe Photoshop.  The characteristics will be put on individual layers, which then will layer upon each other to create a portrait of one’s cultural identity.  An expansion to this model will include creating a collaborative animated piece of all of the students work.  While working on this project, students will be observed by me. It is anticipated that the results of this model will support the importance and effectiveness of the inclusion of technology with art education to address the intersections of cultural identity with high school students.