DALI Curriculum Assessment for Artistic Literacy & Other Charts and Matrices of my Capstone Project

By Tammy Hoppe in conjunc0on with her Capstone project research, 2015 taho2000@gmail.com

DALI Curriculum Assessment for Ar0s0c Literacy And Other Charts and Matrices from My Capstone Research Project

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Suggestions for Strategies from Studio Thinking 2

Habit Develop Craft

Engage & Persist

Envision

Express

Observe

Description

Implementation

Learn to use tools, materials, and artistic conventions (technique). Learn to care for tools, materials, and space (studio practice).

“If all you are doing is teaching technique, craft, the principles and elements of design, you are missing a lot of what is important about developing an artistic mind” (NEIU, 2012).

Develop the skills of accepting, focusing Assignments need to have “optimal ambiguity” on, and persevering in tasks associated (David Perkins). They have to be structured with working through problems relevant enough to guide student learning and open to you and/or to the art world. enough for students to discover their own unique paths.

Learn to visualize what cannot directly be Visualize troubleshooting in imaginative and seen and imagine the next steps that creative situations. There are many ways to might be taken in creating something. envision; artists need a foundation of several methods: preplan, sketchbook, write, talk with Observing is the seeing you do with others, look at other works, dig right in, your eyes. improvise, dis-/reassemble, or impose Envision is the seeing you do in your personal ideas on other ideas (i.e. imagine head. landscape as geometric shapes). Play, stretch, and explore to improve envisioning.

Create artworks that convey ideas, This is where the expressiveness of the E&Ps feelings, or personal meanings. can come into play. Connected to craft in that it’s a craft to figure out the different lines a tool makes in different contexts.

Learn to notice and “SEE” context and Notice (see) more information about visual contextual meaning ordinarily overlooked contexts than otherwise noticed by ordinary by just “LOOKING AT” singular details. looking. Play with metaphors and different *The seeing you do with your eyes. interpretations. *Envision is the seeing you do in your head.

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Habit Reflect

Stretch & Explore

Understand Arts Worlds

Description Learn to think about and judge your own work and working process (and the work of others), and learn to talk with others about aspects of these things.

Through playful exploration with no preconceived plan, learn to reach beyond what you already know for the chance to learn something new from your mistakes/efforts/studies (expand your comfort zone / horizons).

Learn about a range of art (domain) in order to interact as an artist with other artists in different settings throughout the broader society (community).

Implementation 1. Question and Explain (use words in relationship to artwork) 2. Evaluate (judge work in relation to standards of the field) Sequence work so kids reflect in images then in works, then in images and then words again. Push their thinking.

“Mistakes are an important part of artful thinking… . Kids have to learn how to make and use ‘mistakes’” (NEIU, 2012, p. 66).

Envisioning comes from Stretch & Explore “Artists see error as an opportunity, a pathway to new ideas…” (Hetland, as cited in NEIU, 2012, p. 66).

“When students work in isolation from work made by others, such separation leads to solipsism, triviality, and ‘school art’” (Efland, as cited in Hetland, 2013, p. 104)

“Students are meant to learn about their own relationship to broader art communities” (Hetland, 2013, p. 105) Based on Hetland et all. (2007). Studio Thinking. Teachers College Press. Retrieved from http://www.artiseducation.org/sites/default/files/shom.pdf Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2013). Studio Thinking 2. New York, NY: Teachers College Press.

Northeastern Illinois University. (2012). A look at Lois Hetland’s eight studio habits. Retrieved from http://www.everyarteverychild.org/assessment/studiohabits.html

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Alignment of Artistic Processes, NCAS, Studio Habits, and Content

Connect: Relate artistic ideas and work with personal meaning and external context

Respond: Understand and evaluate how the arts convey meaning

Present: Interpret and share artistic work.

Create: Conceive and develop new artistic ideas and work

Content Udrstd Arts World

Stretch & Explore

Reflect

Observe

Express

Envision

National Core Arts Standards 11 Anchor Standards (AS) (process components)

Engage & Persist

Artistic Process

Develop Craft

8 Studio Habits of Mind

Art Artifacts (community, culture, context)

Objects (space, place, & communication through design)

AS 1: Generate and conceptualize artistic ideas and work (experiment, imagine, identify) AS 2: Organize and develop artistic ideas and work (investigate, plan, make) AS 3: Refine and complete artistic work (reflect, refine, continue) AS 4: Analyze, interpret, and select artistic artwork for presentation (select) AS 5: Develop and refine artistic techniques and work for presentation (analyze) AS 6: Convey meaning through the presentation of artistic work (share) AS 7: Perceive and analyze artistic work (perceive) AS 8: Interpret intent and meaning in artistic work (analyze) AS 9: Apply criteria to artistic work (interpret) AS 10: Relate artistic ideas and work with societal, cultural, and historical context to deepen meaning (synthesize) AS 11: Synthesize and relate knowledge and personal experiences to make art (relate)

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Alignment of Artistic Processes, NCAS, Elements of Understanding, and Content

Connect: Relate artistic ideas and work with personal meaning and external context

Respond: Understand and evaluate how the arts convey meaning

Present: Interpret and share artistic work.

Create: Conceive and develop new artistic ideas and work

Transfer of Learning

National Core Arts Standards 11 Anchor Standards (AS) (process components)

Content Art

Meaning Making

Artistic Process

Acquisition of Knowledge and Skills

UbD Elements of Understanding

Artifacts (community, culture, context)

Objects (space, place, & communication through design)

AS 1: Generate and conceptualize artistic ideas and work (experiment, imagine, identify) AS 2: Organize and develop artistic ideas and work (investigate, plan, make) AS 3: Refine and complete artistic work (reflect, refine, continue) AS 4: Analyze, interpret, and select artistic artwork for presentation (select) AS 5: Develop and refine artistic techniques and work for presentation (analyze) AS 6: Convey meaning through the presentation of artistic work (share) AS 7: Perceive and analyze artistic work (perceive) AS 8: Interpret intent and meaning in artistic work (analyze) AS 9: Apply criteria to artistic work (interpret) AS 10: Relate artistic ideas and work with societal, cultural, and historical context to deepen meaning (synthesize) AS 11: Synthesize and relate knowledge and personal experiences to make art (relate)

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Alignment of Content Suggestions From NCAS with 8 Studio Habits Art Art for all students, learning through creating, presenting, responding, and connecting.

Develop Craft Engage & Persist Stretch & Explore

Artifacts Artifacts for understanding communities, cultures, and contexts.

Objects Objects for experiencing spaces and places, and things communicated through the design world.

8 Studio Habits of Mind Express Envision Observe Reflect Understand Arts Community

Reeve, D., Inhulsen, D., Brooke, K., & Martinez, H. (2014, March 18). NAEA next generation arts standards 1994 - 2014 [video]. Retrieved from http://www.arteducators.org/research/national-standards Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2013). Studio Thinking 2. New York, NY: Teachers College Press.

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Third Grade NCAS Content Framework Anchor Standard 1: Generate and conceptualiz e artistic ideas and work

Enduring Understanding

Essential Questions

Cr.1.a. Creativity and innovative thinking are essential life skills that can be developed.

-What conditions, attitudes, and behaviors support creativity and innovative thinking?

-What factors prevent or encourage people to take creative risks?

-How does collaboration expand the creative process?

-How does knowing the contexts, histories, and traditions of art forms help us create works of art and design?

-Why do artists follow or break from established traditions?

-How do artists determine what resources and criteria are needed to formulate artistic investigations?

-How do artists work?

-How do artists and designers determine whether a particular direction in their work is effective?

-How do artists and designers learn from trial and error?

-How do artists and designers care for and maintain materials, tools, and equipment?

-Why is it important for safety and health to understand and follow correct procedures in handling materials, tools, and equipment?

-What responsibilities come with the freedom to create?

-How do objects, places, and design shape lives and communities?

-How do artists and designers determine goals for designing or redesigning objects, places, or systems?

-How do artists and designers create works of art or design that effectively communicate?

-What role does persistence play in revising, refining, and developing work?

-How do artists grow and become accomplished in art forms?

-How does collaboratively reflecting on a work help us experience it more completely?

Cr.1.b. Artists and designers shape artistic investigations, following or breaking with traditions in pursuit of creative artmaking goals.

2: Organize and develop artistic ideas and work.

Cr.2.a. Artists and designers experiment with forms, structures, materials, concepts, media, and art-making approaches.

Investigate Plan Make

Cr.2.b. Artists and designers balance experimentation and safety, freedom and responsibility while developing and creating artworks.

Cr.2.c. People create and interact with objects, places, and design that define, shape, enhance, and empower their lives.

Reflect Refine Continue

CREATE

Experiment Imagine Identify

Artistic Process & Components

3: Refine and complete artistic work.

Cr.3.a. Artist and designers develop excellence through practice and constructive critique, reflecting on, revising, and refining work over time.

Key Traits

Performance Standard Elaborate on an imaginative idea.

Apply knowledge of available resources, tools, and technologies to investigate personal ideas through the artmaking process.

Create personally satisfying artwork using a variety of artistic processes and materials.

Demonstrate an understanding of the safe and proficient use of materials, tools, and equipment for a variety of artistic processes.

Individually or collaboratively construct representations, diagrams, or maps of places that are part of everyday life.

Elaborate visual information by adding details in an artwork to enhance emerging meaning.

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Third Grade NCAS Content Framework

Analyze

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation.

5: Develop and refine artistic techniques and work for presentation.

Share

PRESENT

Select

Artistic Process & Component

6: Convey meaning through the presentation of artistic work.

Enduring Understanding

Essential Questions

Key Traits

Performance Standard

P.4.a. Artists and other presenters consider various techniques, methods, venues, and criteria when analyzing, selecting, and curating objects, artifacts, and artworks for preservation and presentation.

P.5.a. Artists, curators and others consider a variety of factors and methods including evolving technologies when preparing and refining artwork for display and or when deciding if and how to preserve and protect it.

P.6.a. Objects, artifacts, and artworks collected, preserved, or presented either by artists, museums, or other venues communicate meaning and a record of social, cultural, and political experiences resulting in the cultivating of appreciation and understanding.

-How are artworks cared for and by whom?

-What criteria, methods, and processes are used to select work for preservation or presentation?

-Why do people value objects, artifacts, and artworks, and select them for presentation?

Investigate and discuss possibilities and limitations of spaces, including electronic, for exhibiting artwork.

-What methods and processes are considered when preparing artwork for presentation or preservation?

-How does refining artwork affect its meaning to the viewer?

-What criteria are considered when selecting work for presentation, a portfolio, or a collection?

-What is an art museum? How does the presenting and sharing of objects, artifacts, and artworks influence and shape ideas, beliefs, and experiences?

-How do objects, artifacts, and artworks collected, preserved, or presented, cultivate appreciation and understanding?

Identify exhibit space and prepare works of art including artists’ statements, for presentation.

Identify and explain how and where different cultures record and illustrate stories and history of life through art.

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Essential Questions

R.7.a. Individual aesthetic and empathetic awareness developed through engagement with art can lead to understanding and appreciation of self, others, the natural world, and constructed environments.

R.7.b. Visual imagery influences understanding of and responses to the world.

-How do life experiences influence the way you relate to art?

-How does learning about art impact how we perceive the world?

-What can we learn from our responses to art?

Speculate)about)processes) an)artist)uses)to)create)a) work)of)art.

-What is an image?

-Where and how do we encounter images in our world?

-How do images influence our views of the world?

Determine)messages) communicated)by)an) image.)

8: Interpret intent and meaning in artistic work.

R.8.a. People gain insights into meanings of artworks by engaging in the process of art criticism.

9: Apply criteria to evaluate artistic work.

R.9.a. People evaluate art based on various criteria.

-What is the value of engaging in the process of art criticism?

-How can the viewer "read" a work of art as text?

-How does knowing and using visual art vocabularies help us understand and interpret works of art?

-How does one determine criteria to evaluate a work of art?

-How and why might criteria vary?

-How is a personal preference different from an evaluation?

Interpret)art)by)referring)to) contextual)information)and) analyzing)relevant)subject) matter,)characteristics)of) form,)and)use)of)media.)

Interpret

Artistic Process & Component

Anchor Standard 7: Perceive and analyze artistic work

10: Synthesize and relate knowledge and personal experiences to make art.

Cn.10.a. Through art making, people make meaning by investigating and developing awareness of perceptions, knowledge, and experiences.

Develop)a)work)of)art) based)on)observations)of) surroundings.)

11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding

Cn.11.a. People develop ideas and understandings of society, culture, and history through their interactions with and analysis of art.

-How does engaging in creating art enrich people's lives?

-How does making art attune people to their surroundings?

-How do people contribute to awareness and understanding of their lives and the lives of their communities through artmaking?

-How does art help us understand the lives of people of different times, places, and cultures?

-How is art used to impact the views of a society?

-How does art preserve aspects of life?

Analyze Relate

CONNECT

RESPOND

Perceive

Enduring Understanding

Synthesize

Third Grade NCAS Content Framework Key Traits

Performance Standard

Evaluate)an)artwork)based) on)given)criteria.)

Recognize)that)responses) to)art)change)depending)on) knowledge)of)the)time)and) place)in)which)it)was)made.)

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Curriculum Design Approach Key Design Questions

Design Considerations

Filters: Design Criteria

What the Final Design Accomplishes

National Standards State Standards Teacher Expertise & Interest Stage 2: What is evidence of 6 Facets of Understanding learning and understanding? Diverse Assessment Types

Enduring Big Ideas Authentic Applications Engaging Valid, Reliable, Sufficient Authentic Work Feasible, Student-friendly

Stage 3: What learning experiences and teaching promote understanding, interest, and excellence?

WHERE: W here is it going?

H ook the learner.

E xplore & equip learner.

R ethink & revise.

E xhibit & evaluate.

Unit framed around enduring understandings and essential questions.

Unit anchored in credible and educationally vital evidence of the desired understandings.

Coherent learning experiences and teaching that will evoke and develop the desired understandings, promote interest, and make excellent performance more likely.

Stage 1: What is worthy and requiring of understanding?

Research-based Learning & Teaching Strategies Essential & Enabling Knowledge & Skills

UbD. Wiggins & McTighe. (2005)

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Chart and Matrix of Scholarly Resources Averill (2002) –matrix analysis process / unconstrained matrix Barrett (2011) – cross-curricular support / interpretation Clements (2007) – curriculum research & development methodology /// 3 steps – A Priori, alignment, relevance Coleman (2014) – guiding principles of art curriculum Gude (2004, 2007, n.d.) – contemporary art content Hetland (2013) – Studio Thinking II Klenow (2013) – contemporary art lesson example / high school Mayer (2008) – teach with contemporary art curriculum / recommended Poser NCCAS (2014) – mixed arts and modes of learning Poser (2008) – Craft Art / new wave of contemporary artists Prideaux (2003) – curriculum research and development methodology /// backward design, flexible to change Stewart and Walker (2005) – grade-level content / art curriculum /// ideas that have lasting human importance (p. 17) Sweeny (2014) – Gude interview TCB (2014) (The College Board) – comparison of NCAS to Common Core / English standards – summary of child development levels and skills Wachowiak (2005) – my yellow elementary art book / qualitative elementary / middle school art program Walker (2001) – meaning making in art Wiggins & McTighe (2005) – UbD backward design Content Cross-curricular Interdisciplinary Content Curriculum Structure

Grade Level Content Curriculum Writing Process

Authors Barrett Coleman Gude Hetland Barrett Coleman Gude Hetland Gude Hetland NCCAS Averill

Consistent in all Categories Mayer NCCAS Stewart & W

TCB Walker Wig & McT

Klenow NCCAS Poser Stewart & W

Sweeny Wachowiak Walker Wig & McT

Stewart & W Wachowiak

Walker Wig & McT

Clements Prideaux

Wig & McT

Gude Hetland NCCAS Stewart & W Walker Wig & McT

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References

• Davis Art Publica0ons. (2015). Themes in art educa0on. Retrieved from hWp://www.davisart.com/Promo0ons/PDF/Themes-­‐in-­‐Art-­‐Educa0on.pdf • Hetland et all. (2007). Studio Thinking. New York, NY: Teachers College Press. Retrieved from hWp://www.ar0seduca0on.org/sites/default/files/ shom.pdf • Hetland, L., Winner, E., Veenema, S., & Sheridan, K. (2013). Studio Thinking 2. New York, NY: Teachers College Press.

• NCCAS. (2014). Na0onal core arts standards. Retrieved from hWp:// www.na0onalartsstandards.org • NCCAS. (2014). Na0onal core arts standards: A conceptual framework for arts learning. Retrieved from hWps://nccas.wikispaces.com/Conceptual +Framework • Northeastern Illinois University. (2012). A look at Lois Hetland’s eight studio habits. Retrieved from hWp://www.everyarteverychild.org/ assessment/studiohabits.html • Reeve, D., Inhulsen, D., Brooke, K., & Mar0nez, H. (2014, March 18). NAEA next genera0on arts standards 1994 – 2014 [video]. Retrieved from hWp:// www.arteducators.org/research/na0onal-­‐standards • Wiggins, G. & McTighe, J. (2005). Understanding by design. Alexandria, VA: ASCD 14