Saturday, December 17, 2011
Monday, October 17, 2011
Sunday, October 9, 2011
Friday, September 30, 2011
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!
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!
Seen From the Perspective of
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.
Wednesday, September 28, 2011
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
-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:
-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).
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://
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
Lawton, P. (2010). Hand-in hand, building community on common ground. Art
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Unalan, H.T. (2008). The effectiveness of collaborative learning applications in art
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Working Together: Collaborative Learning in Arts Based Community/University Partnerships
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
Monday, September 26, 2011
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.
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By Courtney Todd
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
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