" Imagination is more important than knowledge" ~ Albert
Einstein
Choice Based Art Education fosters
imagination. Teachers all across the
country are "discovering" how to motivate children
through the method of instruction known as Choice Based
Art Education (Teaching for Artistic Behavior - or TAB� Choice
is an organization of teachers who teach using this method ). Centers are set up in the elementary and
middle school art classrooms and students choose which centers
to participate in for the day. High school students are self
directed in their studies and studio work. While definitive
research on this topic is not available online, some Choice
teachers are finding a positive affect this method has on
learning in the core curriculum. (See
Clarification of Terms - See poem
that shows need for Choice)
Find out more about TAB
Choice from Knowledge Loom Web Site. "Choice-based art
education regards students as artists and offers students real
choices for responding to their own ideas and interests through
art making."
"Listen" to what these dedicated
teachers have to say about TAB Choice. Visit
the Web logs.
TAB CHOICE TEACHERS
SHARE THEIR VIEWS
From Clyde Gaw:
Nothing in education is more powerful than
authentic, student directed, student centered learning
experiences constructed from the bottom up. The TAB art
education concept allows students opportunities to take
ownership of their art experiences from conception to completion
with teacher acting as classroom manager, environmental
designer, art expert, facilitator, and student mentor.
From Kathy Douglas:
I am connected to a group which works to
create student-centered art experiences in public schools, the
Teaching for Artistic Behavior Partnership (We call ourselves
TAB for short) One of our favorite quotes is from our
friend Pauline Joseph: "The job of the artist is to have an
art idea and find the best medium to express it, or, to use a
material which leads to an idea." We call this the
real work of the artist, and our aim is to provide settings
where students can do this work. We study productive ways
to arrange the space, the time, and the materials that our
individual situations offer and we feel that choice teaching
allows us to make the best of those always limited aspects.
Teaching takes place constantly, but in addition to traditional
whole-group demonstrations we use small group, one-on-one, peer
teaching and indirect teaching via menus in the centers in the
room.
We know that teaching is a most individual art and each of us
has our own spin on personalized learning; however we believe
that art teachers can be very isolated, especially when they
attempt to teach in a way which may be outside the mainstream.
In the Teaching for Artistic Behavior Partnership we support
each other in multiple ways:
1. Frequent informal "conferences" in each other's
homes
2. Email collaboration, troubleshooting and mentoring
3. Conference presentations
4. Detailed replication content on Dept. of Education funded
best practice
website (http://knowledgeloom.org/tab)
This includes stories of Massachusetts
teachers who embrace this concept of
teaching.
5. A newsgroup to which you can subscribe via Yahoo Groups
(http://groups.yahoo.com/group/TAB-ChoiceArtEd/)
6. A web log which is published daily with stories and quotes
(http://tabchoiceteaching.blogspot.com/
)
7. Visits to each other's classrooms
From Kathy J. Velon
I just recently joined the TAB at
beginning of January 2005. The choice-based art program works
perfectly for deaf and hard-of-hearing students with or without
additional disabilities. These students often get pulled out of
art classes for additional IEP services. They work at their own
paces and are learning much more than before with better quality
teaching from me. Even they get so occupied, most misbehaviors
disappeared!
From Patty Knott - TAB CHOICE improves
student behavior
Every day I offer more and more choices
even if it is "can I go to the bathroom?"
" if you can go and be back by the
time I start my lesson, if not, I will not repeat the lesson for
you--- you choose."
Choice for me is going well beyond
activity centers. It's behavior choices I'm throwing back to
them - their behaviors that make me nuts and you know what?
Every time I say you choose, they mostly choose what is
appropriate.... MAKE IT SNOWBALL
WHY
TAB CHOICE - CHOICE BASED ART EDUCATION?
Submitted by:
Kathy Douglas
TAB Choice
KnowledgeLoom.org
There
are many wonderful outcomes for both students and teachers using the choice
concept of teaching:
-
The
choice teacher is freed from trying to think of a �clever� idea that
will engage every student. Instead students are told that artists
make art about things that fascinate them. When doing the
work of the artist students will be expressing their own ideas.
-
When
students chose the work they are self-motivated; most behavior problems
disappear and the quality of the finished work is quite good.
-
When
students are working independently the teacher has time to observe
students, determining needs that can be met in future demonstrations.
-
Students
can work at their own speed. Some students work on a painting or weaving
for four or five weeks while others may use more than one center in a
class period. Students have the opportunity to try something over and over
again, leading to mastery.
-
The
choice teacher can introduce something new every week, even though some
art works will take much longer to complete as the students work
independently.
-
Students
see an enormous variety of ideas and techniques at the end of class when
amazing discoveries are shared.
-
Choice
teaching encourages independent thinking, persistence and risk-taking, all
qualities valued by practicing artists.
-
Where
supply budgets are slim, the choice teacher can order just a few of
each item. For instance, there are rarely more than 6 students
painting at any one time. We can offer these painters 2� by 3� 90
pound paper and better quality brushes. This would be impossible if
every student had to paint.
-
Most
students choose experiences in each of the centers over the time that they
are in our schools; however, even if a child never makes a tapestry
weaving, she has observed the teacher demonstration, seen the vocabulary
and background material in the fiber area and perhaps watched her best
friend creating a piece of fabric. There is a lot of learning going
on there too!
-
When
students have chosen their work, they can discuss it easily, can describe
their working process and false starts and usually evaluate the
effectiveness of the finished work.
-
Time
is used very efficiently; the initial five-minute demonstration and
the brief clean up time leaves more time for student work.
Additional detailed instruction is given to the small groups choosing the
demonstrated topic as they work.
�
Katherine
M. Douglas 2004
Steps
to a Choice Based Art Exhibit
Design and
Implementation
The
project incorporates student choice in every phase of its design and
implementation.
-
Throughout
the year, students choose both subject matter and media studied in class.
-
The
content of the show represents the choice of the individual student
artists.
-
Students
are given the opportunity to explain their thoughts and working process in
written artist's statements.
-
Members
of the school community have the opportunity to view the show in depth and
respond to the artwork of their choice.
Implementation
Steps:
-
Members
of the school community have the opportunity to view the show in depth and
respond to the artwork of their choice.
-
Encourage
students to leave work in the designated box all year long.
-
Photograph
students creating artwork.
-
In
January invite students to bring back artwork that was taken home.
-
Sort
the work by class and lay it out so students can choose what to show.
-
Touch
base with students who have not selected work to make sure that they do
not wish to participate in the show.
-
Transcribe
their artist's statements.
-
Attach
the artist's statements to the artwork.
-
Mount
the selected artwork simply--stapled to construction paper.
-
Hang
the exhibition on a Saturday morning (an average of 400 pieces).
-
Send
a letter home to the parents describing the show.
-
Invite
all teachers to make "in-school field trips" in which their
students can view the exhibition and respond.
-
Designate
a gallery manager for each classroom to check the work every morning and
tape up fallen pieces.
-
Make
sure that at the end of the month the gallery managers take down the work
and return it to their classmates.
Katherine
M. Douglas
knowledgeloom.org
2002 Tips
for Getting Started
-
Start simple.
-
Introduce centers one at a time.
-
For each center create menus, vocabulary lists, some student/and or
master examples, some references, whatever might be useful.
-
For each center create a simple system for finding and putting away
materials.
-
In each center introduce the simplest-to-use media first.
-
When that is going well, go back around and add more complexity
to centers.
-
Introduce everything that kids are to use.
-
If they can see it, they can use it.
-
Demonstrate what good clean up looks like.
-
Allow for experimentation and play, but look forward to finished
work.
-
Provide supervisors with hard facts before you begin. (print out
the knowledgeloom.org website and pass it to them in a nice binder.)
-
Communicate with parents.
-
Hold students accountable for using their time well (and
experimentation with materials is using time well)
-
One suggestion for opening centers is found in post
#1072 of the Yahoo group.
(http://groups.yahoo.com/group/TAB-ChoiceArtEd/)
This way of teaching requires organization, structure and energy
from the teacher. The students provide the ideas! It is important
to do a lot of reading to prepare for this. From
Kathy Douglas � 2007 |
TAB CHOICE WEB
LOGS - TEACHER WEB SITES:
Cynthia
Gaub - Virtual Classroom Choice Base Middle School. Visit
the student
gallery. Cynthia
has a unique situation in that her classes are multi age. She
has found that providing centers keeps her students motivated
and will provide new experiences for her students each year.
Cynthia teaches at North Middle School in
Everett, WA.
Clyde
Gaw, Indianapolis, Indiana. "Transition to Choice Based Art Education"
http://www.clydegaw.blogspot.com
Ann
Gray - McAuliffe Elementary, Tulsa/Broken Arrow, Oklahoma.
Check out Ann's TAB Choice Art Room Blog. http://toktekart.blogspot.com/
Kathy
Douglas, Elementary Art, Bridgewater, Massachusetts http://tabchoiceteaching.blogspot.com/
Laurie
Dyer, TAB room, Bountiful Elementary http://www.tabroom.blogspot.com/
Nan Hathaway, Rocky Mountain School for the Gifted and Creative,
Colorado http://artatrms.blogspot.com/
Kren
Bennett, Art Grove Elementary in Tulsa, Oklahoma http://artgrove.blogspot.com/
Carolyn Bonomi, Elementary, Massachusetts.
"My Choice-Based Art Room" http://choiceartroom.blogspot.com/
Bonnie
Muir, Elmwood Elementary, Massachusetts
Diane Leganza, Mountain
Ridge Art Studio - Middle School
Deborah
- Parklane Choice Elementary, Aurora, Colorado
Heather
- Art at Jackman - Elementary Art, Toledo, Ohio
Kathy
J. Velon "Choice Based Art for Students with Disabilities" http://tabforspecialneeds.blogspot.com/
" 'Teaching Artistic Behavior' Program (TAB) is
being applied in the PreK-12 art studio set up for students who are either deaf, hard-of-hearing, or hearing
with or without
additional disabilities. Primary language instruction is signed
ASL, secondary in spoken English.
Recent
art work from TAB classrooms at NAEA Show
of student work prepared for the National Art Education
Association conference in Boston. Schools in six states
contributed to this exhibit of over 300 pieces. The work can be
viewed at the Arnhiem Gallery in Boston from Feb. 22-March 8.
WEB RESOURCES
Knowledge Loom TAB Choice http://knowledgeloom.org/tab
This is the "promising practice" in education site,
funded initially by the Department of Education and run by the Education Alliance at Brown University.
Teaching for Artistic Behavior (TAB) professional group created the visual art
content. Register to interact with this website. Note: The
Knowledge-Loom has no tie in with TAB or Choice-Based Art
Education. It is run by Brown University and places article of
"best practices" on their website. See Research listed
for Promising
Practices.
TAB
Choice Web Site - by Clark Fralick and Staci Konesky (site
was down last I checked). Try the original site Choice
Based Art Education
Marvin
Bartel's Learning to Think Artistically A growing online
book of ideas, innovation, and inspiration for teachers and
parents by Marvin Bartel. See "Encouraging
Creative Thinking with Awareness Questions" (see more
links for creative thinking). Site See "Creativity
Killers" and more.
Choice-Based
Art Education at West Point Elementary This page gives
some good definitions of Choice-Based Art Education and shows
some ideas for centers and classroom management.
Poem
for Every Art Teacher "Once a Girl" - Shows
need for Choice
ART
EDUCATION ARTICLES
"Teaching
Students to Become Independent Artists: A Film Script 1"
Art
Education, Jan
2005 by Szekely, George - Excellent article showing
the value of Choice Based Art Education. (article no longer on
line)
"Art
and Ideas: Reaching Nontraditional Art Students" Art
Education, Sep
2001 by Andrews, Barbara Henriksen - Excellent article
showing the advantage of a Choice Based Art Program. (article no
longer on line)
"Art, Reflection, and
Creativity in the Classroom" Art Education, July
2005 by Andrews, Barbara Henriksen
TAB CHOICE LIST SERVE
TAB-Choice Art Ed
http://groups.yahoo.com/group/TAB-ChoiceArtEd
This is the listserv and Internet community created by the TAB
Partnership. Register at this site to post, take polls, view photos and lesson plans. A
vibrant, online art education community. RECOMMENDED
BOOKS These books provide many
philosophical and practical underpinnings for choice teachers.
These are not books specifically about Choice Art Education. George
Szekely's ENCOURAGING CREATIVITY IN ART LESSONS: New
York: Teachers
College Press, 1988. George
Szekely has written an inspiring book which looks first to the
learner, then to the habits of practicing artists in order to
create pedagogical practice. Personal creative processes often
have little resemblance to current art education curriculum and
practice, often resulting in unmotivated, disconnected students
and mediocre "products". Szekely's delight in the
unschooled personal art work of small children and in the quirks
and habits of creative people is evident and is at the core of
his teaching. This is an accessible
and inspiring book with a philosophy that has energized my
teaching for a decade. (Kathy
Douglas review from AMAZON.COM)
Peter London's NO MORE SECONDHAND ART:
Boston:
Shambalah
Publishers, 1989.
Having studied with Peter London
over the past ten years I can assure readers that as a teacher
he lives what he writes. He embodies what every teacher should
bring to students: careful listening, respectful attention,
thoughtful questioning. His writings have won the deserved
respect of his educator and artist colleagues nationwide. Treat
yourself to a fine book. (Kathy
Douglas review from AMAZON.COM)
Cathy Weisman Topal's BEAUTIFUL STUFF, LEARNING WITH FOUND
MATERIALS: Davis Publications
Fred Babb's GO TO YOUR STUDIO AND MAKE STUFF: a fabulous
book of posters
Viktor Lowenfeld's CREATIVE AND MENTAL GROWTH (of
course!)
Susan Dunn's DESIGN TECHNOLOGY: CHILDREN'S' ENGINEERING
Jonathan Fineberg's breathtaking THE INNOCENT EYE
Betty Lark-Horowitz' UNDERSTANDING CHILDREN'S ART FOR BETTER
TEACHING Bales,
David, and Orland, Ted. Art and Fear. Santa Cruz,
CA: The Image Continuum, 1993.
Brooks, J., & Brooks, M. In Search of Understanding.
The Case for Constructivist Classrooms. Alexandria, VA:
ASCD, 1993.
Bunchman, Janis, and Briggs, Stephanie. Activities for
Creating Pictures and Poetry. Worcester: Davis
Publications. 1994.
Dunn, S. & Larson, R. Design Technology: Children�s
Engineering. New York: The Falmer Press, 1990.
Eisner, Elliot. The Arts and the Creation of Mind.
New Haven: Yale
University Press, 2002.
Ewing, Patrick & Louis, Linda. In the Paint.
New York, Abbeville Publishing, 1999.
Fineberg, Jonathan. The Innocent Eye: Children�s Art and
the Modern Artist. Princeton, NJ: Princeton University
Press, 1997.
Heller, Ruth. Color. New York, Putnam and Grosset,
1995.
Holt, John. How Children Learn. Cambridge, MA:
Perseus Books, 1983.
Kellogg, Rhoda. Analyzing Children�s Art. Palo
Alto, CA: Mayfield Publishing Company, 1970.
Leclerc, Georges-Louis, Comte de Buffon. 368 Animal
Illustrations from Buffon�s Natural History. New York:
Dover Publications, 1993.
Lowenfeld, V. & Brittain, W. (1964) . Creative
and mental growth . New York: Macmillan .
Maisel, Eric. Affirmations for Artists. New York:
G.P. Putnam�s Sons, 1996.
McNiff, Shaun. Trust the Process. Boston:
Shambhala, 1998.
Strother, Jane. The Colored Pencil Artist�s Pocket
Palette. Cincinnati, OH: North Light Books, 1993.
Szekely, George. From Play to Art. Portsmouth, NH:
Heinemann, 1991.
Topal, Cathy Weisman and Gandini, Lella. Beautiful Stuff.
Worcester, MA: Davis Publications, 1999.
Topal, Cathy Weisman. Children and Painting.
Worcester, MA: Davis Publications. 1992.
Ultimate Visual Dictionary. London: Dorling
Kindersley, 1994.
Research
Supporting Choice Based Art Education
Developing
Self-Directed Learners "self-directed learners are
'responsible owners and managers of their own learning
process'"
Self-Directed
Learning - from ERIC Digest - learners as responsible
owners and managers of their own learning process.
See Promising
Practices - on Knowledge
Loom site.
ERIC Document: ED404007
Constructivism and Arts Based Programs. by Armistead,
Mary E.;
Date: 1996-06-05 - 14 pages
"Children in the visual arts program work in seven areas of
choice and learn to explore, test, and repeat manipulation of
materials."
"The paper concludes that arts-based programming is
cumulative, promotes risk taking, and is effective especially
for at-risk children, and that teachers must move from
interpreting and teaching art to the constructivist notion of
supporting children's discovery of the arts."
Note: I have not seen this study, but the
abstract looks promising. Check the document for additional
reference.
ERIC Document: ED412010
Improving the Motivation of Middle School Students through
the Use of Curricular and Instructional Adaptations. by Eisele,
Todd - 66 pages
Date: 1996
"A review of solution strategies resulted in the
selection of three major categories of intervention: cooperative
learning, students choice in activities and assignments, and
lessons designed to reflect students' learning preferences."
Note: I have not seen this
study
DIFFERENTIATED
INSTRUCTION
Look
at these resources and see why Choice teachers are so excited
about what they are doing.
Differentiated
Instruction
Discover how research into how students learn led to changes in
how
teachers teach -- and the differentiated model of education.
How
to Differentiate Instruction
After having read what the research has to offer on
differentiated
instruction, specifically, brain-based research on learning,
learning
styles and multiple intelligences, and authentic assessment, you
are now
ready to plan.
Instructional
and Management Strategies
Features instructional and management strategies to support
differentiation in the classroom.
Strategies
for Differentiating
Within the four ways for differentiating instruction there are
embedded
several other learning strategies which are used in conjunction
with
each other.
Internet4Classrooms:
Differentiated Instruction
Features a collection of resources that help classroom teachers
adjust
their teaching process to their learners needs.
Using
Technology to Differentiate Instruction
This online presentation provides the rationale for
differentiating
using technology, as well as a multitude of examples that may be
used in
your classroom.
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