Sunday, October 9, 2011

Friday, September 30, 2011

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.


REFERENCES
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- Buzan, Tony, ( 1991): Use Both Sides of your Brain, Plime, Pengin Group
- - Clare, Scott M. ( February 1983): Drawing Rules: The Importance of the Whole Brain for learning realistic drawing, Studies in Art Education, pg. 126-130
- Cameron, Julia, ( 1992): The Artist’s Way, A Spiritula Path to Higher Creativity, Jeremy P. Tarcher / Putnam, New York
- Challoner, Jack, (2002): Az Agy, Magyar Könyvklub, Budapest
- Csikszentmihályi Mihály, ( 2001): Flow Az Áramlat, A tökéletes élmény pszichológiája, Akadémia Kiadó, Budapest
- Csikszentmihályi Mihály, ( 2008): Kreativitás, A flow és a felfedezés. avagy a találékonyság pszichológiája, Akadémia Kiadó, Budapest
- Dispenza, Joe, D.C., (2007): Evolve Your Brain, The Science of Changing Your Mind, Helth Communication,
- Edwards, Betty (1989): Drawing on the Right Side of the Brain, A Course in Enhancing Creativity and Artistic Confidence, revised edition, Jeremy P. Tarcher/Putnam, New York
- Gardner, Howard (1983): The Theory of Multiple Intelligences, St Edmundsbury Press, Bury St Edmunds, Suffolk
- Gerő Zsuzsa Dr. (1974): A gyermekrajzok esztétikuma, Akadémia Kiadó, Budapest
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- Youngblood, Michael S. ( 1981): untiteled review on Betty Edwards’“Drawing on the Right Side of the Brain”, Studies in Art Education, vol. 22, No.3, p. 64 - 66

Wednesday, September 28, 2011

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,
and community. Social Justice, 29(4), 182-197.

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
learning. Studies in Art Education, 31(3), 149-57.

Hutzel, K. (2006). Challenging our students’ place through collaborative art: A
service learning approach. Journal of Higher Education Outreach and
Engagement, 11(4), 125-133.

Hypki, C. (2009). Lessons from the art of solidarity: A teaching experience in
Nicaragua. Internet Archive Wayback Machine. Retrieved March 14, 2011, from
http://wayback.archive-it.org/2077/20100906203126/http://www.communityarts.
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

Unalan, H.T. (2008). The effectiveness of collaborative learning applications in art
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.

Tuesday, September 27, 2011

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?




Monday, September 26, 2011

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
the art: A children's exhibiton, part of the 2010 international VSA festival. Retrieved from VSA
website: http://www.vsarts.org/PreBuilt/showcase/gallery/exhibits/Stateoftheart/vsa.html

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.

Friday, September 23, 2011

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.

Welcome Everyone!!

Welcome to all our colleagues from Hungary! We are very excited about sharing our work with you on September 30th. We will be posting our handouts, abstracts, and images on the blog. Feel free to do the same. This site is intended to give us a forum to exchange ideas, offer feedback, and share resources. Thank you for participation!! Lisa

Thursday, September 22, 2011

Kelly Steinlage Handout


Kelly Steinlage 09/30/2011 


Is Silence Golden?
Responding to Controversial Topics in the Early Adolescent Art Room

 




Bibliography
Barrett, T. (2000). Criticizing Art: Understanding the Contemporary. Mountain View, CA: Mayfield Publishing Company.
Barrett, T. (1997). Talking about Student Art. Woscester, MA: Davis Publications.
Blair, L. (1996). Strategies for Dealing with Censorship. Art Education , 49 (5), 57-61.
Check, E. (2001). In the Trenches. In Y. Gaudeluis, & P. Spiers (Eds.), Contemporary Issues in Art Education (pp. 51-60). Upper Saddle River, NJ: Prentice Hall.
Chung, S. K. (2009). An Art of Resistence: From the Street to the Classroom. Art Education , 62 (4), 25-32.
Chung, S. K. (2007). Media Literacy Art Education: Deconstructing Lesbian and Gay Stereotypes in the Media. International Journal of Art & Design Education , 26 (1), 98-107.
Chung, S. K. (2005). Media/Visual Literacy Art Education: Cigarette Ad Deconstruction. Art Education , 58 (3), 19-24.
Chung, S. K. (2007). Media/Visual Literacy Art Education: Sexism in Hip-Hop Music Videos. Art Education , 60 (3), 33-38.
Hoffman, J. (2011, 03 26). Sexting Turns Explicit, Altering Young Lives. Retrieved 04 20, 2011 from NYTimes.com: http://www.nytimes.com/2011/03/27/us/27sexting.html
Nordlund, C., Speirs, P., & Stewart, M. (2010). An Invitation to Social Change: Fifteen Principles for Teaching Art. Art Education , 63 (5), 36-43.
School District of Philadelphia. (1990, 12 17). 119. CONTROVERSIAL ISSUES. Retrieved 04 20, 2011 from phila.k12.pa.us: http://www.phila.k12.pa.us/offices/administration/policies/119.html
Tatum, B. D. (1997). "Why Are All the Black Kids Sitting Together in the Cafeteria?" And Other Conversations About Race. New York, NY: Basic Books.
Wright, W. (1991). A Walk on the Wild Side: One Teacher's Approach to Controversial Art. School Arts , 90 (7), 50-51.
Yokley, S. H. (1999). Embracing a Critical Pedagogy in Art Education. Art Education , 52 (5), 18-24.





Blair’s questions to ask when a parent objects to their child seeing a certain artist’s work:
·       To what in the work or assignment do you object?
·       What do you feel might be the result of viewing, reading or learning about this work?
·       What do you believe is the theme or purpose of this work?
·       Is there a work of equal value that you would recommend which would serve as an alternative to the work in question?
(Blair, 1996, p. 61)

Chung’s questions to guide students to analyze and examine media representations of lesbian and gay people:
·       What is the purpose of this advertisement/scene? (e.g., product sale, service, advocacy, or viewpoint)
·       What pictorial elements/design techniques are used to gain our attention?
·       What is the scene trying to tell us? (viewpoint, plot, belief or value)
·       What responses is the scene meant to elicit from the viewer?
·       Are there other implicit messages in this advertisement?
·       Is there a lesbian or gay character in this scene, and how do you know?
·       What is the character doing? How is he/she portrayed?
·       What assumptions do you make from this scene?
·       What does the scene say about lesbian and gay people?
·       What connections can you make between lesbian and gay people and what is advertised?
·       Is the scene portraying a lesbian or gay stereotype?  Which stereotype?
·       How do we know the portrayal is a stereotype?
·       What other lesbian or gay stereotypes do you frequently see in the media?
·       Can we brainstorm some ways to challenge this stereotype?
(Chung, 2007, p. 104)

“Teachers can obtain gay-related advertisements online from the Commercial Closet, an organization that seeks to educate corporate advertisers and the public about homophobia, inclusion and lesbian and gay stereotypes in mainstream advertising… An instructional guide is also available on this organizations website to help teachers engage their students in examining GLBT issues and stereotypes” (Chung, 2007, p. 104)

Wilke, M. (2001-6). The Commercial Closet (online). Available from URL: www.commercialcloset.org