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Download (4MB) Patrick, Pauline (2014) Into the light: modelling artistic practices in schools. Ed.D thesis. http://theses.gla.ac.uk/5683/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] INTO THE LIGHT: MODELLING ARTISTIC PRACTICES IN SCHOOLS PAULINE PATRICK SEPTEMBER 2014 SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTORATE IN EDUCATION (EdD) SCHOOL OF EDUCATION COLLEGE OF SOCIAL SCIENCES UNIVERSITY OF GLASGOW SUBMITTED TO THE LIBRARY OF THE UNIVERSITY OF GLASGOW SEPTEMBER 2014 INTO THE LIGHT ABSTRACT There is a recognised tension between the different roles that teachers of art in secondary schools are required to adopt in the course of their careers. This study explores the hypothesis that a teacher who continues to practice art is better able to model artistic practices for pupils and that this is a valuable factor which argues in favour of teacher/artists continuing to practice both professions simultaneously. This issue is approached first of all through the author’s own experiences as an artist and art teacher, then through a literature review which covers the place of art in the curriculum, the Artist Teacher Scheme (ATS), the gap which is perceived to exist between so-called ‘school art’ and contemporary art, the making process, constructivist learning theories, the artist’s identity and the teacher’s identity. This section provides the theoretical underpinning for the study. Chapter Three presents the methodological framework: a constructivist paradigm is used and a/r/tography is incorporated to support the inclusion of the author’s visual art practice, art education research and teaching and learning experiences. The data corpus is analysed through grounded theory methods. The main data section in Chapter Four presents the narratives of twenty participants based in the UK who reflect upon the relationships that exist between their personal and professional lives and their identities as artists and as teachers. Accounts of both past and present experiences are recorded and analysed in order to identify recurrent themes which emerge from the grounded theory process. This method consciously foregrounds the voices of the artist/teachers, allowing them to express their views in their own words. This, in turn, presents a window into their worlds, illustrating the way that they navigate through the tensions and competing demands of daily life as an artist/teacher. Where appropriate reference is made to visual material offered by the participants and forms of data drawn from schools and from the art organisations with which the schools have contact. Inclusion of this material allows a full picture of the context of the narratives to be drawn and some of the concepts, issues and teaching outcomes to be illustrated through ‘concrete’ examples. ii INTO THE LIGHT In Chapter Five the themes identified in the narratives from the preceding chapter are analysed in the light of the literature surrounding the topic and the author’s own experience as an artist/teacher. These themes focus on the educational exchanges between the art teacher and the learner and the tensions which exist when an artist/teacher maintains an artist persona within the institutional framework of a secondary school. In the final chapter conclusions are drawn from a linkage between the theory and practices which have been revealed through the literature review and the narratives. One of the most important conclusions is the acknowledgement that constructivist approaches favoured by artists can and should inform their pedagogy when they become professional educators. A number of recommendations are made in the light of the findings including implications for the wider educational community. iii INTO THE LIGHT CONTENTS Title Page Abstract ii Acknowledgements 1 Declaration 2 Chapter One – Introduction 3 Chapter Two – Literature Review 15 Chapter Three – Methodological framework 51 Chapter Four – Constructions 80 Chapter Five – Co- constructions 1 22 Chapter Six – Conclusions 1 57 Appendices 1 74 Appendix A – Ethics Application 175 Appendix B – Plain Language Statement 178 Appendix C – Consent Form 180 Appendix D – Access to Settings 182 Appendix E – P articipants and Observations 186 Appendix F – Tables 195 Appendix G – Glass Panels 227 Bibliography 230 iv INTO THE LIGHT ACKNOWLEDGEMENTS I owe the deepest gratitude to the following people: Professor Penny Enslin, Director of the EdD programme, who opened the gates for me. Professor Alison Phipps, my wonderful supervisor, who guided me gently towards the light. The participants who very graciously met with me during my research to discuss their experiences in art education. My parents, May and Jim McColl, and my parents-in-law, Janet and George Patrick, who encouraged and supported me on this journey. My darling husband, Donald, and my beautiful boy Lewis who gave me constant and unconditional love at all times. 1 INTO THE LIGHT DECLARATION I certify that this thesis is my original work and that all references to, and quotations from, the work of others contained therein have been clearly identified and fully attributed. 2 INTO THE LIGHT CHAPTER ONE INTRODUCTION 3 INTO THE LIGHT CHAPTER ONE – INTRODUCTION The Research Question It could be argued that all teachers must be practitioners of their own subjects. This raises an interesting point: should teachers be engaged in practicing their subject outside the classroom, and does it make them a more effective teacher if they are? If so, how can teachers be enabled to do this? This question is of particular relevance in arts subjects, and has become of particular interest in my own case following my return to study after teaching art for 25 years. Having regretfully abandoned my own art practice on becoming a teacher I would like to explore further the question of whether having continued with it would have enhanced my teaching. In the Doctorate of Education (EdD), I found considerable disparity between the literature I was studying and my experiences in the classroom. The literature centred very much on teaching contemporary art practices and concepts, whereas my teaching was focused more on modernist, skills-based courses. I had minimal engagement with current educational research and theory; leading me to question what I, and others brought to the classroom and how we were modelling artistic practices. There is a common conception among teachers that ‘modelling’ equates to ‘demonstrating’. However, modelling goes far deeper than simple demonstrations, but means revealing certain behaviours and ways of thinking; helping pupils to see the world from different viewpoints. An example might be found in looking at a flower: an artist would perceive it in terms of colour, texture and shape; a scientist might think of it in terms of cellular and genetic makeup; and a mathematician might perceive complex numerical patterns. By passing these different perceptions on to children, we equip them to create their own, unique perception of the world around them. This then gives rise to the question of whether we, as teachers, risk losing touch with these behaviours and thought processes if we do not keep up our own practice in the subject. 4 INTO THE LIGHT In returning to study and re-examining my own practice in the light of educational theory, it has become apparent that art and art making occurs most effectively through constructivist and co-constructivist learning. The constructivist theory of learning was first proposed by Dewey (1916), and later formalized by Piaget; in its simplest form, it argues that individuals construct new knowledge through processes of accommodation and assimilation of their own experiences (Piaget, 1974). Co-constructivism extends this theory to acknowledge the importance of interaction with others in the learning process (Vygotsky, 1978). Therefore the question arises as to whether, by abandoning my own practice, I have limited my own and therefore my pupils’ learning. This thesis is about art teaching and the importance of continuing to practice art. But it is also about learning and has a wider resonance for the whole educational community. For example, do music teachers need to be active, performing musicians? And what about those subjects where there are fewer or less obvious opportunities for teachers to be practitioners, such as the sciences? What place do constructivist and co-constructivist learning theories have across the curriculum as a whole? Whilst these questions go beyond the scope of this study, it is evident that they are worthy of further investigation. My Story I begin this study by reflecting on the educational, artistic and teaching experiences that have been instrumental in forming my sense of identity as an art educator. It is my belief that these formative educational experiences are responsible for my pedagogical values, self-identity and attitude towards the subject. In addition, other elements such as culture, environment, gender, ethnicity and relationships have also informed my artistic and teacher self. In employing a reflexive approach, these formative memories and events provide a background to the project’s inception. I am also aware of Hickman’s (2013) warning that it is incumbent on researchers when writing about themselves to consider three important elements: ‘veracity, utility and ethicality’ (Hickman, 2013, p.18). Reflection on these three areas and my feelings about recounting my story provide a useful reference point when asking other art teachers to talk about comparable experiences and pedagogical practice.
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