Task 6a Pilot observation

 

I have been observing the students I work with in my art sessions, with the intention of (1) establishing how well they respond to being taught drawing and painting techniques and (2) how they respond to art sessions that take on a more therapeutic teaching approach.  

 

In some sessions I have been teaching students more traditional drawing and portrait painting techniques.  In other sessions I have been teaching abstract painting as a therapeutic approach experiment.

This is not to say that abstract painting is not a technical way of painting but there is more freedom in producing the work.

 

Most of the students I work with have had very little experience of art lessons both in the school and in their prior education.  

This is due to a number of factors, ranging from poor attendance to destructive behaviour which has kept them out of a normal classroom setting.

 

Since I started working with the students I have been mainly concentrating on teaching them basic painting and drawing techniques.

Some of the students have picked the techniques up reasonably well and others have struggled.

I decided to combine drawing and painting in the sessions because the students consider painting more fun and drawing to be hard work.

 

This observation is intended to give me insight for my enquiry, as to how students with learning difficulties respond to processing technical aspect of drawing and painting.

As motioned above some responded well in parts, but needed a lot of guidance and struggled to remember and process information.

For example I demonstrated to them a number of times how to mix primary colours to create brown and purple, but despite my repetition, they constantly needed reminding.

 

The students found painting portraits the easiest of tasks, I think, because they had images to work from. They were proud of the end result and saw improvements as they created more paintings. 

 

The students really struggled with abstract painting.

Despite finding it difficult to follow instructions in the basic techniques sessions, they still needed guidance, which is something I was hesitant to give in this instance.

As an artist I found the abstract painting to be very strong, complex and interesting.

The student’s body language and the feedback they gave me in response to the abstract painting session, was that they were less proud and impressed by what they produced.          

 

 

Task 6a Survey and Questionnaire Pilot

I decided to use closed questions to collect data for my questionnaires because in the past I discovered that most people found it easier and quicker to respond to this method. I have created two different types of questionnaires. The first one is targeted at adults working in education and the arts and parents/carers. The second questionnaire is tailed towards students. It is easy to understand and therefore not difficult for them to state their answers.

During my enquiry I will use both face to face and Email or web –based questionnaires. Using these different ways of conducting the surveys will allow me to collect data from a number of different people. I am aware that some people might not have access to the internet, this is especially true of the parents and students that I work with.

However, for this pilot I have uploaded the questionnaire for adults on Survey Monkey in order for me to gain, possibly fewer, but instant responses. I have also attached a copy of the questionnaire for students on this blog.               

http://www.surveymonkey.com/MySurvey_EditorFull.aspx?sm=MWXjNd2rGnFAC5C9k4oF9kB1pwuyGnXnQX%2b8DAEbU0g%3d

1.    Gender (please circle)

     Male or Female

2.    Please state your year group or if you attending college full-time please state the level of your course.

________________

 

3.    Please state the course you would like to attend after leaving secondary school or if you are attending college full-time, please state your current course.

___________________________________________

 

4.    Have you considered art as a possible course to study in college or as a career?

Yes or No

5.    Do you think that art in school has the same value as Maths, English and Science?

Yes or No

6.    Can art improve the social, learning and emotional development of students who struggle with behaviour and learning in school?

Yes or No

7.    In school did you look forward to and enjoy art lessons when you had to produce material for course work?

Yes or No

8.    Did you enjoy doing art as part of your English lessons, Science lessons and Therapy sessions?

Yes or No

9.     Do you have any friends, family friends or relatives that study or work as an artist? For example animation designer, painter, graphic designer or sculptor. 

Yes or No

10.  Do you think that is art lessons are important in schools?

Yes or No

 

 

 

 

 

 

 

 

 

 

 

 

Task 6a Focus Group Pilot

I designed a number of questions to guide me during the session, but because of time limitations, I knew that it was going to be difficult to ask them all. 

Despite the restricted time I gained good experience of facilitating a focus group, focusing on the key questions that would give me enough feedback for my enquiry.

I selected four colleagues in my department who have direct contact and support both the students and parents we work with in the school. 

The group was made up of colleagues who don’t have any involvement in the arts. 

I thought that by choosing these colleagues I could gain insight from those who may have a different perspective on the subject from artists or teachers.  

I started by asking the group if they thought that art is more effective and useful as a learning tool or a therapeutic instrument and less effective as a taught subject in EBD schools. 

I was interested to hear that all four participants had a different response to the question, which seemed to correlate to the length of time they had been working in EBD schools. 

Those with more experience thought that art was underused as a tool and undervalued as a subject. 

The only person in the group without children, and with the shortest experience, put the least value on art being a subject taught in EBD schools.

No one was over powering, which made the group easy to control and allowed them to effectively converse about the experiences they were having and have had with students that they support.

I asked the group if they knew of any students from EBD Schools that have gone on to study any art related course in college. 

Out of all four, only one colleague knew a student who had a statement (official document of a learning difficulty), that went on to study art in further education and, interestingly, it was in a mainstream school. 

One participant told us about a student from an EBD School that was excellent in art, but was not encouraged to take it further. They went on to study catering in college which they now regret.

I found the focus group a useful tool because it was easy for the participants to open up and express their thoughts about the subject. 

From this experience I have learnt that it can be difficult to find a suitable location and allocate a time that suits multiple participants. 

I must be sensitive about people’s time and availability and considerate in choice of location in order to maximise participation in my future focus groups.

Here is a list of questions that I designed to guide my focus group:

Pilot Focus Group

1.     Is art more affective and useful as a learning tool or a therapeutic instrument and less effective as a taught subject in EBD schools?

2.     Does existing art programme encourage students in EBD schools to take an interest in art after they finish secondary school?

3.     Does the social background of students and parents affect their attitudes towards art?

4.     Can art enhance the social, academic and emotional development of students with learning and emotional difficulties (EBD)?

5.     What challenges do art teachers face in encouraging both the parents and school heads of departments of the importance of having good art programme in EBD schools?

6.      Would parents be less likely to encourage their children in EBD schools to choose art in further education, if the students have demonstrated ability to be a good art student?

7.     Are the students in mainstream schools more likely to choose art in further education than the students in EBD schools?

8.      Do you think that parents with students in EBD School view art as an extracurricular activity and not a possible subject that can lead to a viable career?

9.     Do you think that the art programmes in EBD schools should be discontinued or reduced because of lack of funding due to the planned government cuts?

 

Task 6a, Interview Pilot

I put together some questions for an interview with Hannah Westwood an artist, community educator and art tutor. 

I chose to meet Hannah after work at my home. I decided not to record the interview as I have done with the focus group, in order to improve my note taking skills. 

The interview took a semi-structured approach as with the focus group. Her experience of teaching art stems from working in PRU’s, community art projects, further education and art residence both in galleries and education institutions.

In this pilot interview I hoped to discover how Hannah approached moving from being an artist and community project based educator to teaching within a formal setting. 

I also tried to get her view on what she thinks about art programmes in EBD schools and if they can inspire student to take up art as a subject in further education. 

I also wanted to find out her views on whether Art can be a useful tool in teaching subject such as Maths and Science and/or how important it is as a standalone subject.

I have selected some questions and a few points from the interview:  

1.     How long have you been working and teaching art with young people in education?

        A. 4 ½ years

2.     Did you find teaching difficult when you first started and if so what aspect of teaching did you struggle with?

Yes, I did find it hard in terms of confidence, which was more of a personal issue. 

It took me time to understand how to effectively plan and convey information through interesting and engaging activities whilst developing lower level student’s basic skills and challenging more advanced students.

3.      Is there much of a difference in the way you approach informal and formal art lessons and how much you think the two approaches are inter-linked?

Yes,  there is a difference, with informal sessions I am generally a lot more relaxed because the timescales are not so intense and also because there is not a syllabus to follow. 

There is still structure and a project plan, but there I allow a lot more natural exploration to occur and for students to work on something for pure enjoyment. 

In formal sessions it is a similar process but a lot more guidance is required, questioning and feedback. 

I think that the approaches are interlinked in the sense that you always have a goal you are working towards its just how you go about it is less or more intense and in depth.

4.     Do you think art is more useful or affective as a teaching tool in working with students who have emotional and behaviour difficulties (EBD)?

I think it can be a very effective tool, but it should not be seen as this is its own right. 

It becomes too easily labelled as a method of teaching rather than a core essential subject. 

Art can be used in so many ways and I think that it is often utilised in the wrong way in EBD and  now     mainstream schools which undermines its full potential and value.

5.     Do you think including art in the timetable could encourage students in EBD schools to take an interest in art after they finish secondary school?

Yes, definitely if they are taught by an energetic and passionate teacher. 

I think that art in EBD schools can sometimes be put in place as a soft subject or therapeutic add on. 

If it is embedded and taught as a curriculum subject it can have massive benefits in terms of behaviour and key skills.

6.     Do you think that social background could affect how students and parents attitudes towards art as a subject in schools.

Yes, massively and cultural background. I think there is a lot of stigma around art that it is a soft subject, that it doesn’t lead to a ‘proper’ career, which is rubbish.   

I have experienced students studying a level 1 BTEC within a secondary school being labelled as under achievers because students and parents see art as an easy subject.   

Art is just as, if not more complex than the core national curriculum subjects.

7.     Would you rate art as an important subject alongside Science, English and Maths?

Definitely, all of these subjects can be embedded within art and support students who are resistant to a subject such as maths to learn without realising by measuring up for a mural for example. 

Art teaches students a range of skills from hand eye co-ordination to analysis and evaluation to researching, talking about their work and learning about a range of different cultures and practices. These are all key skills required in numerous lines of work.

8.     What affect will the currents government’s cuts have on art in schools as a whole?

I think that, unfortunately, it will solidify the way in which art is already undervalued and misused within schools, as a soft subject or extra curricula activity. 

Art should remain a curriculum subject, its methodologies should be utilised within teaching practice and extra curricula activities should continue to be offered. 

It concerns me greatly that our next generation of students will have a greatly un-enriched education and therefore loses out on a range of experiences, skills and ways of thinking. 

I think that art will become stale, confined and lack exploration in schools. 

Materials, trips and creative experiences will be greatly reduced and students won’t be allowed the space to explore, dream and create.

Task 5c

While consulting the reader, I started to question where our ethics are derived from and at what stage we decide to take a view on what we believed to be the ‘right’ way.

The introduction of the reader states that personal ethics can be informed from many sources – family values, religion and conscience.

It is my view that family values and society are largely influenced by the widely practiced spiritual believes and religions, and then in turn our family values guide our conscience.

(p3, http://lgdata.s3-website-us-east-1.amazonaws.com/docs/566/501690/BAPP_Reader_5_2012-13.pdf)

I have placed my personal ethics in the order in which I think they were formed and how they were installed into me.

I have put spiritual belief and religion at the top of the list and I am of the view that without the top three sources in place, it would be difficult for an individual to have a good conscience.

1   1) Spiritual belief and religion

2   2) Society

3   3) Family values

4   4) Conscience

The African believe that, “It takes a village to raise a child” encompasses my thoughts that a whole community/society is needed to give a person a well rounded code of morals.

I was raised by my parents, my extended family, but also by my community. There was trust in my community/village that came with the sharing of the same spiritual beliefs.

It was quite acceptable that I was guided and disciplined by older members of my neighbourhood. If a parent was struggling with certain aspects of a child’s development, they could seek support from their neighbour or family friends to offer guidance to the child.

I had a large group of people whom I could communicate with and of which to learn from.

By being exposed to as many different members of society as possible a child has more tools to model their own ethical framework.

They will experience people that are inherently good, bad and everywhere in between.

They will be able to see the cause and effect of these type of people and with the right spiritual guidance and support learn to make sound moral decisions for the greater good.

For the children that grow up in care, the institution becomes their village.

They do not necessarily have access to personal guidance like that of an African child – or children in the same society as them who are brought up by a caring biological family.

Being raised in care often means losing out on learning family values and instead relying on mentors, educators, friends, gangs, police, social workers, youth workers and foster families to install moral values.

Therefore, I consider reinforcing and providing family values an essential part of duty within my professional practice.

One might argue in that the African child’s upbringing is not dissimilar to the child in care, as it is quite normal for children to spend half of their childhood with different family members or family friends as their parents may need to leave to find work.

However, the difference between the two systems is that the African child’s virtues are moulded by a system that resembles something closer to a family structure.

“Most ancient thinkers, including Aristotle were concerned with the character of an individual. In considering this they would look at what makes a person good, or what virtues an individual could have.

For Aristotle, virtue is a character trait manifested in habitual action. One such example is honesty. It is not enough to be honest on say, Fridays only, but rather honesty is habitually attached to the individual and becomes a virtue. He considered virtues to be mid-points between two extremes. Therefore courage is a mean between cowardice and foolhardiness”.

(p6-7, http://lgdata.s3-website-us-east-1.amazonaws.com/docs/566/501690/BAPP_Reader_5_2012-13.pdf)

Considering Aristotle’s views, it is of utmost importance that, as a professional, I strive to be honest, trustworthy and caring towards the students I work with.

This is of particular importance in my profession as most of the students I work with have been neglected emotionally by the people who are meant to be caring for them.

As I have stated previously, my work place is emotionally challenging. I don’t think I would be able to do my job effectively without my existing virtues.

I have made a list of virtues that are relevant to me personally and my profession, following one of the thinking point on Reader 5:

List of virtues that are relevant to me personally:

Honest

Caring

Thoughtful

Patient

Understanding

Driven

Knowledgeable

Creative

Passionate

Vocal

Non-judgemental

List virtues that are relevant to my profession:

Organised

Caring

Honest

Creative

Persistent

Passionate

Experienced

Un-judgemental

Daring

Whilst making these lists, I struggled not to use the same virtues in both the personal and profession.

This has led me to think that we chose to work in professions and organisations that fit with our characteristic virtues.

If we don’t possess the virtues required by our workplace then we are surly in the wrong profession. For example, by listing my virtues I can see that I am a caring, empathic, sensitive person who would probably not be successful in a cut throat business environment, where I may have to suppress my inherent moral code.

Consequentialism, Deontology and Virtue ethics are three theoretical approaches that will affect how I evaluate issues that arise from my inquiry.

My inquiry will be based on the importance of art in schools that work with students with behavioural, learning and emotional difficulties.

Past experience of using art with young people in community projects, schools and colleges, has focused on encouraging participants’ to experiment with art both as a learning and expressional tool.

This approach is less about teaching young people how to paint or draw, but focuses more on the therapeutic and expressional aspect of art.

I am interested in teaching art to young people as part of their educational syllabus in EBD schools.

My inquiry will inform me as to whether there is a demand for learning art to gain a qualification and to pursue as a possible career path or if the demand is as only a therapeutic tool.

From my experience of working in EBD schools, students are strongly encouraged to learn a trade.

Consequentialism focuses on the greatest happiness for the greatest number.

If my inquiry reveals that the demand for art in EBD schools is for therapeutic purposes only, I must put aside my desires as a researcher as to not override the natural outcome.

As Immanuel Kant states, “the only absolutely good thing is a good will.

Hence, the motive behind an action determines whether or not it is morally right.

Deontology is rule based and is ethical action based on duty”.

(p8, http://lgdata.s3-website-us-east-1.amazonaws.com/docs/566/501690/BAPP_Reader_5_2012-13.pdf)

It is very important that I seek permission from both the school and the parents of the young people to take part in my research.

I must also ensure that the information I gain can be used in my written evidence.

To ensure I have a more rounded inquiry, I will make contact with other schools and organisations to talk with students that do not know me.

This will diversify my research and mean that I am not given answers that students may provide to appease me. It will, therefore, give more credibility to my inquiry.

Oliver (2003) suggests that a teacher researching students or a nurse working with patients affords their professional status more authority and could influence attitude to an inquiry. (p19, http://lgdata.s3-website-us-east-1.amazonaws.com/docs/566/501690/BAPP_Reader_5_2012-13.pdf)

In the Reader it also state that, “how you behave in the inquiry process sends out signals.”

This statement emphases the importance of being aware of how we act during the inquiry.

We must be mindful that we conduct ourselves in such a way that does not influence the responds of the participants.

In this task I have learnt about the authority that the researcher holds over the participant and that we should not misuse the power we hold for our own gain, as set by the British Education Research Association (BERA).

One of the responsibilities of a researcher set by BERA supporting this notion is:

“To ensure the honest and respectful treatment of research participants, by informing them of the purpose of the study and by adhering to the guidance requirements (e.g. on consent and confidentiality), and at all times ensuring their safety and well-being vis-a-vis the research procedure, equipment and premises”.

(p18, http://lgdata.s3-website-us-east-1.amazonaws.com/docs/566/501690/BAPP_Reader_5_2012-13.pdf)

As professionals I think that honesty is the key to successfully working with our clients.

The inquiry requires the same principles, which are embedded in the Deontology theoretical ethical framework.