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LEARNING TO SWIM Learning to Swim Examining the Experience of a Novice Art Teacher Kenzie McKeon University of Missouri
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LEARNING TO SWIM Abstract The following proposal aims to indentify and dissect experiences of a high school art teacher during her first year of teaching. This study takes an auto ethnographic approach to answer the main research question: How can a novice high school art teacher establish their teaching identity and thrive in a new and unfamiliar environment? This proposal addresses its theoretical framework through a constructivist lens. A literature review discusses what other research has to say about like issues, while concluding that more studies need to be done on first year art teachers. Through qualitative data collection of
field notes, journals, and videos, the researcher will address the research sub-‐questions by analyzing: what specific successes and challenges one faces, how strong teacher-‐student relationships are fostered, and how one creates and implements curriculum.
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LEARNING TO SWIM Learning to Swim: Examining the Experience of a Novice Art Teacher
Years of teacher education courses, paired with pre-‐service and student teaching
experience, prepares aspiring art educators to dive in and take on a classroom of their own. However, once a novice teacher accepts their first position, there seems to be a drop off in guidance, and an influx of anxiety. The infamous first year of teaching is the pivotal “sink or swim” experience as new educators learn what it takes to float. While this learning curve is something most veteran teachers can relate to, there is little attention given to this major leap…especially in research. Statement of the Problem
As mentioned above, there is hardly any literature that addresses the needs and
experiences of first year art teachers. Teachers entering the classroom for the first time are, often times, given limited information that helps them prepare for the year. Feeling like a fish out of water, a novice teacher steps into a setting that he or she is not yet familiar with. Despite support from fellow teachers and administration, there is still pressure to make good impressions and teach effectively. I relate to all these feelings first hand because I am a novice art teacher. Although I feel capable and excited to take on this first year, I have realized that with little direction, I will have to teach myself how to “swim.” Purpose of the Study
My goal for this study is to uncover and dissect the journey that a first year art
teacher goes through. Through detailed documentation, I will track my preparation, decision-‐making, classroom management, lesson implementation, etc. By participating in constant reflection and data collection, I hope this study allows me to improve my teaching
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LEARNING TO SWIM practices as the year goes go. While understanding that each new teacher is different, I
believe that sharing my first year experience will also help pre-‐service teachers and fellow novice teachers. Research Question
For the Purpose of this study, the following research question and sub-‐questions
were addressed: 1. How can a novice high school art teacher establish their teacher identity and thrive in a new and unfamiliar environment? a. What specific successes and challenges does one experience? b. How does one foster strong teacher-‐student relationships? c. How does one create and implement lessons that anticipate and embrace curricular changes? Definition of Terms 1. Novice—a person who is new to the circumstance; beginner 2. Pre-‐service teacher—teacher in training that undergoes education courses and field experience in a classroom before attaining teacher certification 3. National Core Arts Standards—A process that guides educators in providing a unified quality arts education for students in Pre-‐K through high school. Theoretical Framework
This study will be conducted from a constructivist standpoint. In constructivist
theory, “people construct their own understanding and knowledge of the world, through experiencing things and reflecting on those experiences” (Constructivism as a Paradigm for Teaching and Learning). Not only will I implement this theory in my teaching, but I will
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LEARNING TO SWIM also use it on myself as I reflect and collect data during the research process. Through constant self-‐assessing, I will able to learn and draw conclusions from my own teaching experience. Literature Review
Several studies were examined in order develop a base knowledge going into this
research. The review is broken down into two subheadings that organize the literature into common themes. It is important to mention that the lack of literature available from a novice teacher’s perspective validated my need to propose this research study.
Classroom Culture First in addressing teacher-‐student relationships, Teven and Hanson focus on the components of student perceptions of teachers’ credibility. Specifically, they examined the impact teacher caring and teacher immediacy. Three dimensions of credibility: competence, trustworthiness, and perceived caring are addressed. Studies found that the teacher’s immediacy and responsiveness positively contributed to the students’ perception of teacher caring. In contrast, verbal aggressiveness was negatively related to this perception. Therefore, teachers who demonstrate both caring and nonverbal immediacy can increase affective learning in students (Teven & Hanson, 2004). Taking a different approach to classroom culture, Walker talks about setting boundaries in the art classroom. Understanding boundary setting is important in order to design meaningful art instruction. Walker suggests teaching concepts should be the initial focus, and art educators should ask students about ideas, media, and style. More constraints often produce more creative student responses. Making requirements can help students recognize that artistic choices are intentional boundaries (Walker, 2001). Broome addresses the physical space that
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makes up an art room, and how the arrangement can impact student learning and classroom management. One teacher’s meaningful choices include safety considerations, social interaction, symbolic identification, task instrumentality, and growth (Broome, 2013). Similarly, Gillespie examined how a simple physical environment can affect his students’ art making. He asked: How can I help students try to be more creative with their art projects? Gillespie built a portable art gallery that allowed AP art students to exhibit their work and empowered them to contextualize it with audience and location in mind. The result of this portable gallery also allowed for a more student-‐centered environment within the art room (Gillespie, 2014). From all these studies, it is apparent that various environmental factors and teacher behaviors affect classroom culture. Implementing Meaningful Curriculum Bain, Newton, Kuster, and Milbrandt’s research takes a look at 11 first-‐year novice art teachers in a qualitative case study. The researchers examined these new teachers’ understanding of meaningful curriculum, and most found that lessons which connect to students’ lives are meaningful. They also note the teachers’ challenges and successes throughout their first year. The findings included how the novice teachers emphasized connecting art lessons to student’s cultures, the quality of student work, and building trust (Bain, Newton, Kuster, & Milbrant, 2010). In a similar study, researchers found that first year teachers faced challenges such as being overwhelmed, exhausted, managing their time wisely, motivating students, classroom management, etc. Many of the teachers did not feel adequately prepared for teaching in their first year. However, some successes included building trust within their classroom, creating dialogue about art, making a difference, and showcasing the art program (Kuster, Bain, Newton, & Milbrandt,
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LEARNING TO SWIM 2010). La Porte, Speirs, & Young also found that some factors influencing curriculum content include undergraduate coursework, personal interests and national state standards. Over everything else, the researchers concluded that the teachers were influenced the most by what they knew and felt comfortable teaching (La Porte, Speirs, & Young, 2008). As an experienced art teacher, Hesser’s research explored what happened when he gave students a large amount of creative control. Through a constructivist lens, Hesser believed that his job as a teacher was to be more of a facilitator than an instructor. He introduced a painting lesson to his level-‐two art class by showing them a variety of artists. From there it was up to students to facilitate discussions, designate groups, and
develop strong themes that would uphold the content of their paintings. Assessing was also student led as the students proposed their grades (with rationale) to the teacher in one-‐on-‐ one conferences. The outcome of this approach resulted in student discovery of themselves as artists as well as the value of art making (Hesser, 2009). Methodology
In this study, I will take an auto ethnographic approach in conducting research. This
type of methodology aims to answer: What’s going on here? It marries autobiography and ethnography. In other words, I will be studying myself. The research will be open-‐ended and exploratory as I look at my own experiences throughout my first year of teaching. Therefore, I will serve as the participant and the observer. As common in ethnographic methodology, I will begin as an outsider (entering an unfamiliar environment), and then will gradually become an insider (Chiseri-‐Strater & Sunstein, 2006). Through detailed documentation, I will be able look closely at my forming identity as a teacher.
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Research Design The research design entails a long study that will last for the duration of a school year. Starting from the beginning of my first year and gradually moving toward the end, I will collect data through careful reflection. I will pay close attention to the development of my teacher identity, relationships with students, class culture, and the way I implement curriculum. Instrumentation
For this research, I will use a couple types of technology, along with journaling, to
collect data.
iPad
An iPad will be used to video myself, as well as my art classroom. This is an
appropriate tool because it is easily portable, simple to use, and can be edited and saved. Video diaries will allow me to reflect and vocalize my feelings at the end of a school day or week. I can document my thoughts accurately, while also capturing my facial expressions and tone of voice. The camera feature on the iPad will also allow me to document student artwork and works in progress.
Online Blog
A blog will serve as an organized vessel for this research. On the blog, I can post
written statements, pictures, and videos, making it a multimodal source. The blog also allows for easy access to archive posts that will allow my to look back and analyze the data. Because the blog lives online, I can invite certain individuals to access the site so that they may experience my year of teaching in “real time.”
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LEARNING TO SWIM Data Collection and Analysis Procedures
As referred to above, I will collect data on my teaching experience through multiple
means of reflection. This will include detailed field notes, photo documentation, and a video dairy that will be succinctly presented in a blog. Although I will reflect constantly throughout the school year, I will take time to analyze the data at the end of first semester and at the end of the school year. From there, I will compile a list of successes and challenges. I will note any epiphanies and look for common themes. Lastly, I will look for any changes in student behavior and progress. Protection of Human Rights
Because I am conducting a study on myself, primarily for my benefit, no IRB
permission is necessary. All students will remain anonymous throughout the research study. Should I choose to publish this research, further permission will be required. Discussion
Novice teachers endure a lot of new experiences and obstacles in their first year. It
is important to recognize the learning curve that exists within the first year, and the isolation that can sometimes come with it. Further research should be conducted on this topic so that teacher educators, veteran teachers, and administrators can better understand how to support new teachers. Most importantly, novice teachers need to know that they are not alone in their feelings of struggle, but that the first year can indeed be successful. All we need to do is learn how to swim.
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LEARNING TO SWIM References
Andrews, B. W. (1997). Assessing the effectiveness of a collaborative approach to program delivery in arts teacher education. Mcgill Journal Of Education, 32, 163-‐176. Bain, C., Newton, C., Kuster, D., & Milbrandt, M. (2010). How Do Novice Art Teachers Define and Implement Meaningful Curriculum?. Studies In Art Education, 51(3), 233-‐247. Broome, J. (2013). A Case Study in Classroom Management and School Involvement: Designing an Art Room for Effective Learning. Art Education, 66(3), 39-‐46. Constructivism as a Paradigm for Teaching and Learning. (2004). Retrieved from http://www.thirteen.org/edonline/concept2class/constructivism/ Darts, D. (2004). Visual Culture Jam: Art, Pedagogy, and Creative Resistance. Studies In Art Education, 45(4), 313-‐327. Gillespie, J. (2014). The Portable Art Gallery: Fostering Student Ownership and Meaningful Artmaking Through Exhibiting Student Artwork. Art Education 67(4), 13-‐17. Hesser, J. F. (2009). Personal Perspectives on Constructivism in a High School Art Class. Art Education, 62(4), 41-‐47. Kuster, D. A., Bain, C., Newton, C., & Milbrandt, M. K. (2010). Novice Art Teachers: Navigating Through the First Year.Visual Arts Research, 36(1), 44-‐54. Smith, J. (2009) The A/R/T connection: linking art practice, research and teaching. International Journal of Education through Art. 5, 2/3, 265-‐281. Tavin, K. M. (2010). Sites and Sinthomes: Fantasmatic Spaces of Child Art in Art Education. Visual Arts Research, 36(71), 49-‐62. Thompson, C. M. (2009). Mira! Looking, Listening, and Lingering in Research With Children. Visual Arts Research, 35(1), 24-‐34.
LEARNING TO SWIM Walker, S. (2004). Understanding the Artmaking Process: Reflective Practice. Art Education, 57(3), 6-‐12 Woywod, C. W. (2015). Fixed, Fluid, and Transient: Negotiating Layers of Art Classroom Material Culture. Art Education, 68(2), 22-‐27.
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