This dynamic resource details the philosophy, rationale, and implementation of choice-based authentic art education in elementary and middle schools. To do the work of artists, children need opportunities to behave, think, and perform as artists. The heart of this curriculum is to facilitate independent learning in studio centers designed to support student choices in subject matter and media. The authors address theory, instruction, assessment, and advocacy in a user-friendly format that includes color photos of classroom set-ups and student work, sample demonstrations, and reflections on activities. Book Features: Introduces artistic behaviors that sustain engagement, such as problem finding, innovation, play, representation, collaboration, and more. Provides instructional modes for differentiation, including whole-group, small-group, individual, and peer coaching. Offers management strategies for choice-based learning environments, structuring time, design of studio centers, and exhibition. Illustrates shifts in control from teacher-directed to learner-directed. Highlights statements by children identifying personal relevancy, discovery learning, and reflection. Book jacket.
Educators at all levels want their students to develop habits of self-directed learning and critical problem-solving skills that encourage ownership and growth. In The Learner-Directed Classroom, practicing art educators (PreK–16) offer both a comprehensive framework for understanding student-directed learning and concrete pedagogical strategies to implement student-direct learning activities in school. In addition, research-based assessment strategies provide educators with evidence of student mastery and achievement. Teachers who structure self-directed learning activities can facilitate effective differentiation as students engage in the curriculum at their level. This book provides evidence-based, practical examples of how to transform the classroom into a creative and highly focused learning environment. Book Features: Guidance for implementing a learner-directed program, including advocacy, management, differentiated instruction, and resources.Attention to the needs of specific groups of students, including preadolescents, gifted and talented learners, boys, and those with learning differences.Insights into reflective practice and strategies for assessment of learning. Contributors: Catherine Adelman, Marvin Bartel, Katherine Douglas, Ellyn Gaspardi, Clyde Gaw, Lois Hetland, Pauline Joseph, Tannis Longmore, Linda Papanicolaou, Cameron Sesto, George Szekely, Ilona Szekely, Dale Zalmstra “In the present standards-based learning environment, this book is a welcome addition because it presents an alternative pedagogy that puts learners’ needs and interests at the core. Experienced and novice art teachers at all levels who read this book will be motivated to teach in open-ended environments where their choices can make a difference in their students’ lives.” —Enid Zimmerman, Professor Emerita of Art Education and High Ability Programs, Indiana University “From the comfortable couch of the foreword to the exhortative poem at the book’s conclusion, the reader journeys through remarkable classrooms with insightful educators. Practical AND inspirational, the educational principles and points so deftly illustrated herein apply across the disciplines and age spans. An important read for all teachers. A timeless and necessary pedagogy for all classrooms.” —Jacqueline Grennon Brooks, Professor, School of Education, Hofstra University “It is easy to proclaim creativity important and criticize current practices and then offer no actual solutions. This volume is filled with practical tips and hands-on advice aimed at improving self-directed student learning. Any classroom teacher interested in helping students learn, discover, and create will want to read and reread this book.” —James C. Kaufman, Professor of Psychology, California State University, San Bernardino, and Editor, International Journal of Creativity and Problem Solving “Here at last is a meaningful, practical, and hands-on textbook giving guidance to the classroom teacher about beginning or enriching a choice-based program for students, rather than the traditional regimented art curricula meant to please adults. I highly recommend this book to all who are involved in pedagogy, including parents” —Jaune Quick-to-See Smith, Artist Diane B. Jaquith is a K–5 art teacher in Newton, MA and a co-founder of Teaching for Artistic Behavior, Inc., a choice-based art education advocacy organization. She is the co-author of Engaging Learners Through Artmaking: Choice-Based Art Education in the Classroom. Nan E. Hathaway is a middle school art teacher in Duxbury, Vermont. She is a gifted education specialist and is on the board of directors for Teaching for Artistic Behavior, Inc.
Taking inspiration from a variety of contemporary approaches, this book presents a framework for Choice-Based instruction for Secondary Level (grades 6–12) Art Education. The Open Art Room provides a student-centered approach to art instruction that is inspirational, practical, and classroom-tested -- Provided by the publisher.
Students of all ages can learn to think like artists! Studio Thinking: The Real Benefits of Visual Arts Education changed the conversation about quality arts education. Now, a decade later, this new publication shows how the eight Studio Habits of Mind and four Studio Structures can be used successfully with younger students in a range of socioeconomic contexts and school environments. Book Features: Habit-by-habit definitions, classroom examples, and related visual artist exemplars emphasizing contemporary artists. Full color mini-posters teachers can hang in their classrooms to illustrate each of the eight Studio Habits of Mind. Sample templates for students to use as they plan, reflect upon, and talk about works of art. Innovative approaches to assessment and strategies for implementation. Photos throughout the book of Studio Thinking signage and activities, students making art, and student artworks. Suggestions for using Studio Thinking for arts education advocacy. COMPANION VOLUME— Studio Thinking 2: The Real Benefits of Visual Arts Education, Second Edition Lois Hetland, Ellen Winner, Shirley Veenema, and Kimberly M. Sheridan
This book offers an innovative approach to understanding and supporting teacher inquiry groups, Critical Friends Groups, “PLCs,” and other vehicles for the school-wide professional learning community. It takes the reader outside traditional sites of professional development for teachers and into the black box theatres and rehearsal studios of contemporary theatre companies. It investigates the methods and specific tools these theatre artists use to collectively create new works for performance. Drawing on these methods and tools, it provides a model for understanding and improving the practices of teacher learning groups, one that highlights the means, materials, and modes of engagement of a group’s activity. Applying the model to elementary and high school teacher learning groups, it demonstrates how teachers, coaches, and administrators can use it to foster meaningful professional learning and instructional improvement. The book provides not only new ways of thinking about teacher learning in schools, but also frameworks and specific tools to bring teacher learning as collective creation to life.
This brand-new elementary science methods text uses an innovative applied approach and is authored by three leaders in the field. The text takes a constructivist approach and practices this approach by engaging students in reflective thought and investigations.Project-based science engages young learners in exploring authentic, important, and meaningful questions of real concern to students. Through a dynamic process of investigation and collaboration and using the same processes and technologies that real scientists use, students work in teams to formulate questions, make predictions, design investigations, collect and analyze data, make products and share ideas. Students learn fundamental science concepts and principles that they apply to their daily lives. Project-based science helps all students regardless of culture, race, or gender engage in science learning.The book is packed with numerous examples so that the reader can easily understand points that are made throughout the book. Each chapter has activity boxes with experiments that exemplify the project-based approach. The book provides useful tips, charts, diagrams, and tables that illustrate how to get children doing investigations. The text's dynamic teaching methods match all of today's major science education reports including The National Science Education Standards, Project 2061: Science for All Americans, and Benchmarks for Science Literacy.
Learning to Connect explores how teachers learn to form meaningful relationships with students, especially across racial and cultural differences. To do so, the book draws on data from a two-year ethnographic study of No Excuses Teacher Residency (NETR) and Progressive Teacher Residency (PTR), and teachers that emerge from each program. Each program is characterized in rich complexity, with a focus on coursework relating to relationships and race, as well as fieldwork. The final part of the book explores how program graduates draw upon these experiences in their first year of full-time teaching. Two very different visions and approaches to teacher-student relationships emerge – one instrumental, the other reciprocal, with implications for the students ultimately served by each approach. Through engaging portraits and illustrative case studies, this rigorously researched yet eminently accessible book will help teacher educators (and likely other scholars, teachers and policymakers, too) to better conceptualize, support, and practice the formation of meaningful relationships with students from all backgrounds. Ultimately, Learning to Connect offers a hopeful path forward as educators become better equipped to model meaningful human connections with students, which might be especially necessary in today’s deeply divided society.
